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The right to copy and the copyright: Cultural identity, hybridity, and authenticity.

机译：复制权和版权：文化身份，混合性和真实性。

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摘要

The subject of this dissertation originated from a question posed during my research on parody and pastiche in postmodern literary theory. As a native of Taiwan, I am keenly aware of the burdens that exist in once colonized cultures to reconcile foreign cultural influences with the need to struggle for an authentic cultural identity. Any forms of imitation and appropriation of foreign cultures not only always require vindication for legitimacy, they are also clear reminders of such a country's often colonial past and its subsequent continuous neocolonial present. Seeing how Western-based postmodern theory legitimizes the copy as the authentic, and comparing it with my own country's cultural identity predicament, I was prompted to question the contrasting valuations of imitation and appropriation.; While imitation and appropriation are regarded in contemporary European and American cultures of criticism, what have been called “postmodernism,” as valid contests to Romantic or Post-Enlightenment idea of individuality and originality, the same practices are viewed paradoxically as symptoms of cultural subordination and inferiority in postcolonial societies, prompting in these power-peripheral countries concerns of authenticity and originality, and ultimately, crisis of legitimation. In other words, in postmodernism, imitation and appropriation discredit the modernist ideology of originality and authenticity, while, in postcolonialism, they suggest quite a different valuation: the lack of originality and authenticity.; These phenomena seem to be two sides of the same coin, but, what is this “same” coin? Or, what is the nature of this “sameness”? To put it plainly, as literary works' treatments of these very issues prompt the power-center countries characterization “postmodern” and the power-periphery countries valuation “colonial,” what can this nonetheless similar preoccupation with imitation and appropriation suggest to us? What inter- and multicultural implications does it contain? In this dissertation, I analyze the dynamics hidden in these questions, taking contemporary Chinese, Taiwan, Chinese American, and American fiction as models representing different locales, and examine the politics of constructing new cultural identities in their respective inter- and multicultural societies.
机译：本论文的主题源于我对后现代文学理论中的模仿与模仿的研究提出的一个问题。作为台湾人，我敏锐地意识到曾经殖民的文化在调和外来文化影响力与努力争取真正的文化认同感方面存在的负担。任何形式的模仿和挪用外国文化不仅总是需要证明其合法性，而且还清楚地提醒着该国通常是殖民地的过去以及其后不断出现的新殖民地时期。看到以西方为基础的后现代理论如何将复制品合法化为真实的东西，并将其与本国的文化身份困境相比较，我被提示质疑模仿和挪用的相对价值。尽管在当代的欧美批评文化中，模仿和挪用被称为“后现代主义”，是对浪漫主义或启蒙运动关于个性和独创性观念的有效竞赛，但同样的做法却被自相矛盾地视为文化从属和包容的症状。后殖民社会的自卑，在这些大国中引起了人们对真实性和独创性的担忧，并最终引发了合法性危机。换句话说，在后现代主义中，模仿和挪用使独创性和真实性的现代主义意识形态失范，而在后殖民主义中，它们提出了截然不同的评价：缺乏独创性和真实性。这些现象似乎是同一枚硬币的两个侧面，但是，这种“相同”的硬币是什么？或者，这种“相同”的本质是什么？简而言之，当文学作品对这些问题的处理促使权力中心国家表征为“后现代”，而权力边缘国家则将其评价为“殖民地”时，尽管如此，对模仿和挪用的类似关注仍能为我们提供什么建议？它包含什么跨文化和多文化的含义？本文以当代中国人，台湾人，华裔美国人和美国小说作为代表不同地区的模型，分析了这些问题中隐藏的动力，并研究了在各自的跨文化和多元文化社会中构建新文化身份的政治。

著录项

  • 作者

    Chen, Lingchei Letty.;

  • 作者单位

    Columbia University.;

  • 授予单位 Columbia University.;
  • 学科 Literature Comparative.; Literature Modern.; Literature Asian.; Literature American.; Anthropology Cultural.
  • 学位 Ph.D.
  • 年度 2001
  • 页码 304 p.
  • 总页数 304
  • 原文格式 PDF
  • 正文语种 eng
  • 中图分类 文学理论;世界文学;人类学;
  • 关键词

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