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Emerging Trends and Voices in Maxine Hong Kingston Criticism: The Woman Warrior and China Men in Recent Scholarship in Mainland China Qingjun Li (^BiW-) A dissertation submitted to the Graduate Faculty of Middle Tennessee State University in partial fulfillment of the requirements for the degree of Doctor of Philosophy May 2010 UMI Number: 3411009 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. UMT Dissertation Publishing UMI 3411009 Copyright 2010 by ProQuest LLC. All rights reserved. This edition of the work is protected against unauthorized copying under Title 17, United States Code. ProQuest LLC 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106-1346 Copyright © 2010 by Qingjun Li All rights reserved Emerging Trends and Voices in Maxine Hong Kingston Criticism: The Woman Warrior and China Men in Recent Scholarship in Mainland China Qingjun Li (^Jfc¥) Approved Graduate Committee: Ho<^~?4-< Dr. Elycetlelford, Major Professor td^L^^c^- Dr. Rebecca King, Reader Dr. Allen Hibbard, Reader Is^hkH^W-^U &-*-4j-?** &-CX-* Dr. Tom Strawman, Chair of the Department of English Dr. Michael D. Allen, Dean of the College of Graduate Studies This work is dedicated to my mom and family in China. Without their sacrifices, I could never have accomplished my doctoral degree in the U.S. Acknowledgements The first course I took during my doctoral study in the U.S. in the fall term of 2005, taught by Dr. Elyce Helford, was devoted to contemporary women writers. Maxine Hong Kingston's (Tang Tingling %^f^f>) The Woman Warrior (hereafter, WW) was on the reading list. Reading this work sparked my interest in the study of Chinese American literature, especially in those texts by women writers. As I continued my doctoral study, my attention and research was often drawn into this area whenever I had a free choice of topics. Altogether, I wrote four papers devoted to an examination of Maxine Hong Kingston. All of them were presented at various conferences, and one of them which I wrote for Dr. Helford's Contemporary Women Writers class won the Wolfe graduate writing award. In my course Bibliography and Research, I did comprehensive primary and secondary bibliographies on Kingston's work and reviewed the English language dissertations published on her writing in the U.S. I was also able to write one of my preliminary exam essays on Chinese American literature more generally. What I noticed throughout these several years of work was that there seemed to be nothing in the recognized journals or literary critical works by any Chinese scholar residing and working in mainland China on Kingston. This set me to wonder just what had been done on Kingston by scholars in mainland China, and this curiosity put me on the path culminating in the present work that analyzes the reception and interpretation of Kingston's works by current mainland Chinese women scholars of American literature. In what follows, I will be breaking new ground. I would like to begin by thanking all the professors from the English Department at Middle Tennessee State University who have taught me, nurtured me, guided me, and influenced me. I especially want to express my appreciation to Dr. Marion Hollings, who was Director of the Graduate Program in English when I began my doctoral work. She particularly gave me a great deal of encouragement and guidance through my preliminary examinations. Dr. Kevin Donovan, who is the current Director of the Graduate Program, has assisted me in many ways in the journey to complete my degree. Dr. Tom Strawman, our Department Chair, has given me immeasurable support over the years while I pursued my degree and taught in the department. My dissertation committee, composed of Drs. Elyce Helford, Rebecca King, and Allen Hibbard, has inspired me and guided me through the research and composition of this dissertation, and I am indebted and very grateful to them. My dissertation committee chair, Dr. Helford, read my first draft of this work and provided extensive comments and suggestions in the margin of each page, and she gave me a final summary of her suggestions in writing which detailed all the major issues that I needed to address, expand or delete. In our meetings, she offered me so much encouragement, enlightenment, and energy that I was filled with confidence that I could accomplish the project I set for myself. I still remember the time when we sat around a table in Starbucks for the whole afternoon, spreading all of our books and draft sheets on the table. We discussed some of our common concerns while drinking coffee and tea. The aroma of the coffee and tea, mingled with the dim light, sparked in us both novel thoughts and delightful moments of excitement. Dr. Helford has guided me and led me in this dissertation with invaluable ii suggestions and inspiration. For her, there are no adequate ways to express my admiration and respect. Dr. King and Dr. Hibbard are two of my professors whom I highly respect. I took classes from both of them in my doctoral study. Not only have they taught me in their respective disciplines, but they have also influenced me to become a good writer, a criticial thinker, and a serious scholar. Under Dr. King's direction, I wrote the paper entitled '"I Have Woven a Wreath of Rhymes Wherewith to Crown Your Honoured Name': Mother and Daughter in Christina Rossetti's Literary Works," and I was very pleased when this essay won the Wolfe graduate writing award. Dr. Hibbard's class, Reading Postmodernism, equipped me with a sufficient understanding of postmodernism to use it in my critique of Kingston. Actually, it was one of the questions which Dr. Hibbard asked me in my oral preliminarary exams that triggered me to write my dissertation as an exploration of the scholarly voices focusing on Kingston in mainland China. My thanks to both Dr. Hibbard and Dr. King are beyond my words. I also would like to express my sincere appreciation to the four scholars in mainland China whose work is the focus of this dissertation. They have provided me great vision and novel perspectives in understanding Kingston. I especially want to thank Chen Xiaohui who accepted my request to interview her, sent me her biography, and responded patiently to my questions about why and how she developed an immense interest in Kingston. Without these scholars' books and assistance, my dissertation would be impossible. iii Last but not least, my sincere gratitude goes to my professor, mentor, and friend, Dr. Gladys "Hap" Bryant from Belmont University, who has helped me in one way or the other throughout the years of my graduate study in the U.S. I took three graduate courses from her when she taught in Zhengzhou University, my home university in China. It is she who encouraged me to leave my teaching position as Associate Professor of English in Zhengzhou University to come to the U.S. to further my education. It is also she who would lift me up and talk me through my frustrations when I was about to give up or collapse due to the stress and fatigue of graduate studies over my years in the U.S. She is a special friend and also a life-long teacher. There is a famous saying in Chinese: "One day teacher, forever father." Such feelings of gratitude to all my teachers will be buried deeply in my heart forever. IV Abstract Emerging Trends and Voices in Maxine Hong Kingston Criticism: The Woman Warrior and China Men in Recent Scholarship in Mainland China This dissertation is an analysis and comparative study of the reception and interpretations of Maxine Hong Kingston's The Woman Warrior and China Men in the work of four current mainland women scholars of American literature publishing in Chinese: Shi Pingping ^^W, Lu Wei UiWi, XueYufeng I?3iM, and Chen Xiaohui W Bj£Sp. I first consider how these scholars have been influenced by both Chinese and Western scholarship, which critical theories have informed their work, and the extent of their familiarity with Western criticism of Kingston. Next, I uncover several ways in which these scholars offer corrections to readings of Kingston done by American interpreters including the association of Kingston with Western feminism, the omission of the significance of Orientalism to Kingston's narrative constructions, and misreadings arising from confusions over Kingston's use of Chinese sources. I offer my judgments about how these scholars as a whole, and individually, contribute to American and Chinese American scholarship on Kingston, either constructively or correctively. The third move I make in the study is to identify the unique readings these scholars offer of Kingston's work that are not found in American critical scholarship on the works studied. I pay attention to their use of Chinese critical concepts embedded in Chinese culture in approaching an American writer. I analyze the presence of recurring pattern difficulties in Chinese literary scholarship identified by Sau-ling Cynthia Wong. v The patterns I focus on are: essentializing Chinese and American cultures and consciousness; repetitiveness in interpretation, source use and even phrases; mutual citation of each other's work by Chinese scholars; and finally, the extent to which mainland Chinese scholars possess a critical knowledge of the Chinese sources upon which Kingston draws. I conclude that the pattern deficiencies noted by Wong in the work of Chinese scholars of American and Chinese American literature, and Kingston specifically, are moderating.
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