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Université De Montréal Par Bennett Yu-Hsiang Fu Département D'études Université de Montréal Differing Bodies, Defying Subjects, Deferring Texts: Gender, Sexuality, and Transgression in Chinese Canadian Women’s Writing par Bennett Yu-Hsiang Fu Département d’études anglaises faculté des arts et des sciences Thèse présentée à la faculté des études supérieures en vue de l’obtention du grade de Philosophiae Doctor (Ph.D.) en études anglaises avril 2004 © Bennett Yu-Hsiang fu, 2004 H C ‘ o C Université de Montréal Direction des bibliothèques AVIS L’auteur a autorisé l’Université de Montréal à reproduire et diffuser, en totalité ou en partie, par quelque moyen que ce soit et sur quelque support que ce soit, et exclusivement à des fins non lucratives d’enseignement et de recherche, des copies de ce mémoire ou de cette thèse. L’auteur et les coauteurs le cas échéant conservent la propriété du droit d’auteur et des droits moraux qui protègent ce document. Ni la thèse ou le mémoire, ni des extraits substantiels de ce document, ne doivent être imprimés ou autrement reproduits sans l’autorisation de l’auteur. Afin de se conformer à la Loi canadienne sur la protection des renseignements personnels, quelques formulaires secondaires, coordonnées ou signatures intégrées au texte ont pu être enlevés de ce document. Bien que cela ait pu affecter la pagination, il n’y a aucun contenu manquant. NOTICE The author cf this thesis or dissertation has granted a nonexclusive license allowing Université de Montréal to reproduce and publish the document, in part or in whole, and in any format, solely for noncommercial educational and research purposes. The author and co-authors if applicable retain copyright ownership and moral rights in this document. Neither the whole thesis or dissertation, nor substantial extracts from it, may be printed or otherwise reproduced without the author’s permission. In compliance with the Canadian Privacy Act some supporting forms, contact information or signatures may have been removed from the document. While this may affect the document page count, it does not represent any loss of content from the document. Université de Montréal Faculé des études supérieures Cette thèse intitulée: Differing Bodies, Defying Subjects, Deferring Texts: Gender, Sexuality, and Transgression in Chinese Canadian Women’s Writing présentée par Bennett Yu-Hsiang Fu a été évaluée par un jury composé des personnes suivantes: représentant du doyen de la FES Thèse acceptée le Résumé La sexualité des femmes chinoises canadiennes a une longue histoire comme une fantaisie structurée par des stéréotypes conflictuels, mais encore coexistants, et d’images déformées. Ce travail de thèse étudie diverses représentations transgressives dans les écrits de femmes chinoises canadiennes pour démystifier les modèles dociles et dangereux qui ont défini les femmes chinoises canadiennes, leurs rôles de genre et leur sexualité. On y démontre que la femme de lettre chinoise canadienne moderne ni ne tente de parler pour une identité collective, ni n’y donne sa voix. Plutôt, elles participent dans un engagement transgressif à amoindrir la normalité sexuelle établit depuis longtemps et jamais questionnée. Elles écrivent comme des sujets résistants à la rhétorique du métier pour leurs propres positions dans des trajectoires historiques canadiennes et chinoises. Ces textes d’auteures explorent le jeu entre le corps féminin, la construction du genre, la production textuelle et les représentations sexuelles. Ces auteurs et les sujets féminins dans leurs discours engendrent leur propre discours, lequel affirme l’agence et l’épistémologie du corps. Ce travail de thèse embrasse quatre champs d’étude: les théories féministes du corps, les études de la sexualité et du genre, la littérature féminine et les études chinoises canadiennes. L’introduction examine les chemins dans lesquels la subjectivité féminine est ancrée dans les formes du discours de l’histoire, de l’etlmicité et de la sexualité. Le premier chapitre commence avec Sui Sin Far (1865-1914) et examine dans Mrs. Spring fragrance (1912) l’identité bi-culturelle et l’identification au travers de transgressions sexuelles intériorisées. Le deuxième chapitre analyse Disappearing Moon Cafe (1990) de Sky Lee et observe comment les sexualités «ethnicisée» re-imaginent leur relation particulière à de multiples sites familiaux et nationaux et comment les paramètres de la diaspora interviennent dans l’ethnicisation et la sexualisation de l’espace. Le troisième 11 chapitre contextualise le discours du désir lesbien et l’icône de femme fatale-renarde dans la mythologie chinoise pour situer la voix féminine dans les ruptures culturelles de When fox Is a Thousand (1995) par Larissa Lai. Cette auteure transgresse et démantèle les oppositions Est-Ouest, présent-passé, fiction-réalité et introduit une nouvelle voix féminine au discours subversif Poursuivant le leitmotiv lesbien, le quatrième chapitre analyse This Place CaÏled Absence (2000) de Lydia Kwa à travers la lentille de l’abjection, arguant que l’abjection surgit comme une représentation transgressive dans laquelle l’exil, la généalogie et ta langue sont des couches intercallées avec l’homosexualité pour engendrer une subjectivité perverse. Le cinquième chapitre discute de la sexualité déviante de Evelyn Lau dans Runaway: Diaiy ofa Street Kid (1989) et Inside Oui’: Reflections on a Lfe So Far (2001). La position déviante de Madame Lau d’une prostituée fugueuse toxicomane découvre un autre terrain transgressif et provoque différence et défiance dans une nouvelle direction. La conclusion développe la nécessité d’établir des modèles critiques en littérature chinoise canadienne et de commencer avec une généalogie des corps sexuels et textuels de femmes chinoises jouant sur la scène canadienne. En écrivant une nouvelle définition de la féminité, les cinq auteures examinées avec minutie font circuler une forme de leur réintégration dans le discours de la création à la fois comme « sujet à» et comme « sujet de ». Elles défient le rôle traditionnel de genre comme le «bon sujet» et transgressent les conventions normatives pour reconstruire un site sexuel utopique dans des productions textuelles. Chaque corps différent ouvre des espaces pour d’autres corps défiant pour engendrer de nouveaux discours dans des textes déférents. En recouvrant une lacune occultée dans l’histoire des femmes de lettres chinoises au Canada, cette thèse pose à la fois la première pierre du développement de la 111 littérature chinoise canadienne de langue anglaise et aussi celle de la dissémination et la re-inscription de la sexualité féminine dans l’histoire chinoise canadienne. Mots clés : écrits des femmes chinoises canadiennes, sexualité féminine, genre, transgression iv Abstract Chinese Canadian women’s sexuality bas a long history as a fantasy structured by conflicting, yet coexisting, stereotypes and distorted images. This dissertation investigates various transgressive representations in Chinese Canadian women’s writing to demystify the docile or dangerous models that have corne to stand for Chinese Canadian women, their gender roles, and their sexualities. The work argues that modem Chinese Canadian wornen writers neither attempt to speak for, nor give voice to, a collective identity. Rather. they participate in a transgressive cornmitment to undermine the long established. but unquestioned sexual normality; they write as resisting subjects to crafi rhetoric for their own positions in Canadian and Chinese historical trajectories. These writers’ texts explore the interplay between the female body, gender construction, textual production and sexual representations. These writers and the female subjects in their narratives engender their own discourse, which affirms the body’s agency and epistemology. This dissertation brings together four fields of study: feminist theories of the body, gender and sexuality studies, women’s writing, and Chinese Canadian Studies. The introduction examines the ways in which female subjectivity is embedded in the discursive formations of history, ethnicity, and sexuality. Chapter One starts with Sui Sin far (1865-1914) and examines in Mrs. Spring Fragrance (1912) the author’s biracial identity and identification through internalized sexual transgressions. Chapter Two analyzes SKY Lee’s Disappearing Moon Cafe (1990) and scrutinizes how “racialized” sexualities reimag(in)e their particular relation to multiple familial and national sites and how diasporic parameters intervene in the racialized and sexualized space. Chapter Three contextualizes the discourse of lesbian desire and the fox-femme fatale motif in Chinese mythology to situate the female voice in cultural disruptions in Larissa Lai”s When Fox Is vi u Thousand (1995). Lai’s narrative transgresses and dismanties the binarisms of East West, present-past, fiction-reality and introduces a new female voice to the discourse of boundary-crossing. Continuing the lesbian leitmotif, Chapter four analyzes Lydia Kwa’s This Place Called Absence (2000) through the lens of abjection, arguing that abjection looms as a transgressive representation in which exile, genealogy, and language are layered with queemess to engender perverse subjectivity. Chapter Five discusses deviant sexuality in Evelyn Lau’s Runaway: Diary of a Street Kid (1989) and Inside Out: Reflections on u Life So far (2001). Lau’s deviant positioning as prostitute/runaway/drug addict unfolds another transgressive terrain and provokes difference and defiance in a new direction. The conclusion points toward the necessity of establishing
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