“新游牧精神”为文化冲突的和解方案 ：从《陆犯焉识》探讨严歌苓的身份认同 = “New normadic spirit” as a solution to cultural identity conflict : an analysis of Yan Ge Ling’s cultural identity through her novel, Lu Fan Yan Shi

• Main Author: See, Seow Ling
• Other Authors: Yow Cheun Hoe
• Format: Final Year Project
• Language: Chinese
• Published: 2015
• Subjects: DRNTU::Humanities::Language::Chinese
• Online Access: http://hdl.handle.net/10356/65522
• Institution: Nanyang Technological University

著名美籍华人严歌苓在1980年代移民至美国，在这个科技、交通越来越发达的新时代，她的写作对“离散”概念产生了新的认知。严歌苓在2011年发表了一部最长篇的小说《陆犯焉识》，故事讲述主人公陆焉识1925年到1990年的人生，不仅经历多个中国重大事件，也具有多次离散经历。陆焉识曾到美国留学也到荒漠劳改，最后决定回归于大草原。因此本文将在与严歌苓生平的对照之下，思考她对于自我的身份认同的立场。对于80年代后的移民而言，离开家乡已非常常见，不再是“离乡背井”、“漂泊无依”，而是“重获新生”、“享受自由”。因此在1980年代后的华人移民文学中，也出现了一种称之为“新游牧精神”的内涵，主要是从游牧民族的生活方式升华到精神层面，借此表达作者在离散经历中对于自我身份认同的新角度。因此，本文主在结合“新游牧精神”的概念，以及《陆犯焉识》中小说人物的离散经历、去留之间的抉择以及结局的安排等方面，与严歌苓一生的离散经历做个对照，得出了严歌苓以“新游牧精神”兼收并蓄的特点，表达了1980年代后的移民在自我身份认同上获得一种新身份的可能性。这使远在海外的移民不再挣扎，而是得到解脱、自由。The renown American Chinese author Yan Ge Ling migrated to the United States in the 1980s. Her works undercover new dimensions in the idea of diaspora, under the context of today’s technological age. Yan Ge Ling’s longest novel “Lu Fan Yan Shi” describes the life of main character Lu Yan Shi through the years 1925 to 1990, covering major events in China and multiple instances of diaspora. Lu Yan Shi variously studied in the States, was sentenced to forced labour in barren plains, and finally settled in the vast grasslands. His story invites parallels to Yan Ge Ling’s own life and her perspectives on self-­‐identity. Diasporic experiences became more common in the 80s for Chinese emigrants, and became less associated with “leaving the homeland” and “alienation”, and more about “rediscovering a new life” and “enjoying freedom”. In this vein, the “New Nomadic Spirit” emerged as an essence in Chinese diasporic literature in the 1980s, elevating the concept of nomadism into a spiritual outlook, as a new expression of self-­‐identity in the experience of the diasporic authors. Bringing together the experiences of the novel’s characters, their dilemmas between staying or leaving, and the closing chapter; as well as Yan Ge Ling’s own life, it becomes apparent that the “New Nomadic Spirit” is uniquely transcendental, going beyond the original cultural referents of identity. This feature in Yan Ge Ling’s work expresses a new self-­‐identity of the Chinese diaspora in the 1980s that allows them to no longer struggle but obtain emancipation and freedom.