谭恩美小说《喜福会》、《灶君娘娘》与《百种神秘感觉》中的“叙说故事”和“私密话语”

ABSTRACT
　　 Tracing the style of Chinese-American literary works, I find that most  writers get used to utilizing the skill of storytelling to construct the form  and plots of their novels.　Amy Tan, a female Chinese-American bestseller, is  a remarkable novelist among them.　Tan's charming talent of telling stories is  not only shown to readers but also is revealed through her characters—she  tells stories to readers and her heroines in novels continuously tell stories  to the other female characters too.　As an Chinese reader in Taiwan, I think  that Amy Tan, who gets a lot of good feedback from readers and makes great  selling amounts in the publishing market, really catches Chinese and American  readers' eyes and plays an important role in the history of Chinese-American  literature.　Reviewing The Joy Luck Club, The Kitchen God's Wife, and The  Hundred Secret Senses, I found that the discourse of narration is the most  particular trait.　No matter what each character's monologues and multiple  dialogues in The Joy Luck Club or various viewpoints of telling stories in The  Hundred Secret Senses and The Kitchen God's Wife, all heroines create the  encountered interrelationship, which is associated with characters, readers,  and the author.　Therefore, Amy Tan's employment of the act of multiple  storytelling and monologue toward readers is the main feature of the narrative  style in her novels.　Focused on the discourse of narration, this thesis  explores how it works in Tan's three novels with feminist approaches, and  mainly reexamines the bonds between Amy Tan's narration and her female  characters.
　 Divided into five chapters, the thesis aims at analyzing storytelling,  monologue, and private talk among heroines in Amy Tan's three novels in order  to demonstrate the correlated bonds between the texts.　In Chapter Two, the  concept of storytelling in Tan's three novels are analyzed and defined. Through the monologue, storytelling, and "community of memory", the female  selfhood is associated with characters, readers, and the author.　All of them  review their past, and find the true self in the present life.　Chapter Three  deals with collision and fusion in Amy Tan's novels, including the sphere of  mother-daughter relationships and sisterhoods.　It concentrates on studying  why the private talk, including the share of personal stories and an exchange  of private secrets, is constructed in womanhood, and moreover, it analyzes how  the private talk functions among characters when they experience the process  from miscommunications to understandings.　Four pairs of mothers and daughters  in The Joy Luck Club, and the sisterhood between Winnie and Helen in The  Kitchen God's Wife; Kwan and Libby in The Hundred Secret Senses, are the  target of my research.　Moreover, Chapter Four studies the dilemmas of the  ambivalent identity in Amy Tan's heroine and her creative writing.　According  to the cultural conflicts and ethnic confusions, it firstly explores Amy Tan's  heroines' dilemma in between two cultures, and then draws attention to Amy  Tan' dilemma in controversies of critics.　Besides the explosion of a painful  personal/family biography, do more possibilities of style show in Chinese- American literature?　Therefore, Amy Tan's writing style and the problem of  using Chinese mysterious materials toward Americans will be discussed in the  Conclusion.
　　 This thesis studies monologue, storytelling, and private talk in Amy Tan's novels and analyzes the interrelationship between female characters she  creates and Chinese-American literature.　Because of Amy Tan's particular  narratology, the conflictive female friends, sisters, mothers versus  daughters, and even the author versus readers communicate with each other and  achieve the unbroken bonds.　Moreover, all of heroines could re-identify the  self and reconstruct their ideologies for facing the lives in the present, and  the future.