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本篇paper代写- Asian American literature讨论了亚裔美国文学。上世纪美国民权运动兴起，亚裔美国文学研究应运而生，并逐渐发展成一门独立的学科。而亚裔文学在数量与质量上的长足进展，也为亚裔文学批评带来更多的研究视角。学科成熟至今，各种理论方法因势利导，齐头并进。本文综观美国本篇paper代写由51due代写平台整理，供大家参考阅读。

With the rise of the American civil rights movement in the late 1960s, the study of Asian-American literature came into being and gradually developed into an independent discipline. The great progress in quantity and quality of Asian literature has also brought more research perspectives to Asian literary criticism. From cultural nationalism to mutual differentiation of the same configuration and heterogeneity; From the binary opposition between masculinity and feminism to the organic combination of ethnicity, gender and sexuality in specific historical scenes; From the collective imagination of the Asian community in the pan-asian era to various dilemmas and possibilities in the "post-" theoretical trend. The linear description of the research situation here does not mean that the latter replaces the former. The discipline has been mature and various theoretical methods have advanced in line with the current situation. This paper makes a comprehensive survey of the research status of Chinese American literature in the past 40 years, clarifies the causes and causes of the academic evolution, discriminates the advantages and disadvantages of the research results, and tries to make a comprehensive and in-depth judgment on the development and current situation of this discipline.

After the woman warrior published in 1976, although the rave reviews, but Kingston wrote "American critics of cultural misreading" in retort critics misunderstand - more than half of the comments have deepened the exotic and mysterious Oriental "incomprehensible" stereotypes, and Kingston himself is regarded as Oriental culture ambassador, the intention and soup. Subsequently, tang's other two non-autobiographical and more or less political works were less well received. Compared with the bestselling works such as Chinese woman ah wu and the joy luck club, zhao jianxiu and others attacked the self-assimilation of asians in order to fight against the mainstream prejudice of the United States, and the difficulty of finding and publishing old works became more and more prominent. Accordingly, we can see the expectation horizon and acceptance standard of Asian writers and literature held by the American mainstream: the writer should be a member of the "model minority", and the characters should conform to the Oriental imagination of white readers.

The perspective of expectation plays an important role in the creation of Asian literature. Almost all kinds of speech positions, writing angles and writing strategies of Asian writers center on the perspective of expectation. In advocating "freedom, equality" in the "American dream", "multiculturalism" the cacophony, it seems the eclecticism schools of thought contend, but in fact changed the hegemony of echo, its surface is willing to accept all the differences, but the negative phenomenon of vulnerable groups own limitations, secretly for authority to cover up lies, pass the buck. When asians are given the aura of "model minority", they are not only used as tools to suppress blacks, but also rejected by whites. The subtext of "model" is "difference", so the "incomprehensible and unassimilable" Asian Americans are the mainstream fiction of America, which is the argument of "literary Chinatown". Partridge think inside/outside, we/they, binary thinking such as the United States/China restricts the mainstream American readers to accept the conditions of Chinese literature, and it provides novel is to modify the mainstream prejudices and redefine ethnicity, to break through the shackles of Chinatown: literature as devoid of Asian American culture conflict mode of binary opposition, instead use the character with all kinds of experience and influence to the process of Asian immigrants.

Similar to Partridge's point of view is Youngsuk Chae's politicized Asian-American literature: toward a critical multiculturalism, which creates a space for counter-narrative and explores how Asian writers view racial inequality as a way to conform to the expectations of the mainstream, or as a way to challenge the mainstream as a cultural maverick. Chae also holds a critical attitude towards multiculturalism, believing that multiculturalism commercializes and essentializes cultural differences, highlights exotic aesthetic discourse, and results in the classification of differences. Zhao jianxiu's criticism of Kingston and others, who cater to mainstream writing, has contributed to the stereotyping of Chinese literature. Taking joy luck club as an example, the overall structure of the novel is based on the binary opposition between the repressed Chinese culture and the free American culture, which conforms to the expectation vision of the American mainstream. Chae wonders if there is a formula for mainstream acceptance of Asian literature. Is there an irreplaceable essence of successful Asian literature? Chae traces the mainstream view of the history of formation expectation: 1965 years later, because of its political and economic upheaval and influenced by American ideology in the United States writer of Asian immigrants, many are no longer keen political issues, and social status of their own silence, written in politically neutral stance with the subject of Asian culture, mainstream readers look forward to view the resulting in the United States. Chae borrow very rebellious Asian works as an example, points out that they and the default Asian American multiculturalism works is that of the difference in their conscious against systemic discrimination and unequal power, beyond a single perspective of culture, race, will be "class", "economic structure" these widely ignored problems in labor relations, hit a multicultural cover up the truth, challenge "with whatever he is essentially" stereotypes. The so-called secret of success in Asian literature is precisely the expectation horizon of the American mainstream that should be re-examined and tried to challenge today.

Zhao jianxiu reminded the object of Asian writers' resistance with "racist love and hate", and VietThanh Nguyen put forward "irreconcilable main body" against "model minority", giving new political significance to Asian people's social positioning in the United States. In two aspects, "model minority" integrates into American society conditionally at the cost of compromising with America's unequal structure. "Irreconcilable subjects" challenge the hegemony of American pluralism, but at the expense of Asian-Americans who are unable to deeply understand the ideological contradictions, and whose posture of constant confrontation is difficult to understand the changing Asian-Americans that Paaridge speaks of.

Huang xiuling's article "ethnic themes, ethnic symbols and the difficulty of restoration and reproduction: Chinatown in some Chinese literature" is an in-depth study of the perspective of expectation. On the one hand, under the vision of Oriental voyeurism, the Chinese in Chinatown faded out as a whole, and every independent individual was simplified as the specimen of others, taking out the personality and inner attribute; On the other hand, some Chinatown Chinese take their outsider status as capital and make a living by fabricating Oriental features to please the curious eyes of the west. Over time, the mask becomes the face. Therefore, the subjectivity of Chinese Americans is exhausted in the reproduction of others and of themselves. When the Chinese, as "the beholder", turn to the white people as "the beholder", their "seeing" does not have the same power as the white people because of their status of being dominated. Just, how to determine the Chinese-American property of Chinatown, how to admit that Chinatown is not China after all, without falling into the trap of exotic and history-free essentialism? Zhao jianxiu's novels are always full of descriptions of Chinatown. Zhao is familiar with every detail of Chinatown and knows all kinds of codes of exoticism well. It is difficult to resolve the dialectical negation of the writing connotation in Chinatown.

"Horizon of expectation" seems to be an external study of literature, but it has special value for Asian/Chinese literature study. Partridge discusses "what are ethnic writers", their role in the literary field, hovering between market considerations and artistic innovation, is the expectation horizon of mainstream readers the biggest motivation or obstacle for their creation? And inspired all kinds of writing strategies, right? Years after aiya was published, xu zhongxiong, one of the editors of aiya, revealed in an interview that they were indebted to Kay Boyle, a white female writer who knew little about Asian literature. The introduction to aiyah is a "declaration of independence for Asian-American literature," but its structure and strength are both counterbalanced by this non-Asian-American expert. Therefore, whether the subject of Asian literature is exemplary or naughty, "expectation horizon" is an unavoidable subject.

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