徐忠雄的「種族計畫」：《美國人兮》中的解構與建構

Shawn Wong’s “Racial Project”：Deconstruction and Construction in American Knees

本文援引種族主義論述，探討徐忠雄 （Shawn Wong）的《美國人兮》 （American Knees）如何解構美國的東方主義論述，如何建構華美/亞美新形象與論述，如何與現有的亞美文學與批評論述互動。論文主體分四部分，第一部分建立本文的理論架構，援引王靈智（Ling-chi Wang） 的雙重宰制典範、法農（Frantz Fanon）的內部殖民理論以及麥可‧歐米（Michael Omi）和郝華‧溫南（Howard Winant）的種族生成和種族計畫等觀念；由於徐忠雄和較年長的趙健秀 （Frank Chin）、陳耀光（Jeffery Paul Chan）等人合編過《唉咿！》（Aiiieeeee!）和《大唉咿！》（The Big Aiiieeeee! ）等選集，所以在意識形態上難免受到其影響，準此，本文也將引用其論點做為佐證。論文第二部分從種族主義與東方主義的定義出發，繼而檢視《美國人兮》再現的種族歧視等議題。第三部分首先剖析《華埠有福無喜之夜》（Lucknow Nights Without Joy in Chinatown）和《華裔女性奴》（China Girls in Bondage）中的東方主義論述，再審視徐忠雄如何建構華美新形象，探究《美國人兮》如何藉由兩性關係的刻繪，再現族裔多元性以及亞美文化與經驗的異質性。論文第四部份探討徐忠雄如何透過父親與母親形象的對比刻劃，反轉二十世紀末葉的亞美文學批評論述，藉以拓展華美與亞美文學的範疇。

Appropriating the discourse of race and racism, this paper explores how Shawn Wong deconstructs American Orientalist discourse in American Knees, how he constructs new Chinese American or Asian American image and discourse, and how the 1995 novel interacts with the existing Asian American literature and critical discourse. The main body of the paper is composed of four sections. Section One introduces the theoretical framework, including Ling-chi Wang’s paradigm of dual domination, Frantz Fanon’s theory of internal colonization, and the concepts of racial formation and racial project advocated by Michael Omi and Howard Winant. The author also employs the points made by the editors of Aiiieeeee! and The Big Aiiieeeee! as Shawn Wong in his formation of racial ideology was inevitably influenced by Frank Chin and Jeffery Paul Chan. Beginning with the definitions of racism and Orientalism, Section Two mainly examines the issue of racial prejudice as represented in American Knees. In the third section, the author first analyzes the Orientalist discourse as implied in China Girls in Bondage and Lucknow Nights Without Joy in Chinatown and then centers on the ways in which Shawn Wong constructs new images of Chinese America and the ways in which American Knees represents the multiplicity of ethnicity as well as the heterogeneity of Asian American culture and experience. Section Four illustrates the ways in which Shawn Wong inverses the discourse of key Asian American literary criticism in the late 20th century, thereby expanding the horizon of Chinese American and Asian American literature.