摘要
華裔美籍女作家湯亭亭之《女戰士》中多元社會文化意識形態的異音對話成分已被廣泛地談論。然而那些應用巴克汀理論來作研究的評論家，卻只將他們的重心放在呈現交織於文本中的異音對話現象。對於文本中年輕的故事敘述者 (同時也是主角) 如何與多元文化觀點、意識形態思想體系和個人不同意識概念對話，不僅未作深入探索，而且也鮮少探討她運用異音對話策略的動機及目的。本論文則是深入檢視這位華裔美籍的女主角兼敘述者如何質疑已既定的倫理道德傳統及風俗習慣，和挑戰深具權威的性別及種族意識形態架構。這位主角敘述者透過其對其他女性角色故事的重新描述，混合交錯發自不同女性角色互相爭鳴之多元社會文化意識形態。此充斥著異質多元意識概念的領域孕釀出以解構被認同的男性中心及白人中心觀點之對話空間。另外，本論文深入探究此主角敘述者如何憑藉著異音對話的敘述策略來顛覆威權性的父權及種族歧視觀念，表明她個人的思想方式，以形成她身為一華裔美籍女性另類的自我認同。

論文第一章的前言以簡要呈現華裔美籍女性多元的社會文化背景來開啟本文的論證，並就《女戰士》的學術研究文獻作一扼要的回顧。此一學術文獻的檢驗不但指出了此些學術研究者的侷限與盲點，而且帶出我的進一步探究：(1) 在《女戰士》此文本領域中互相爭鳴對話之眾社會文化意識形態；(2) 在整個質疑、解構和自我創造的過程中所激盪而創造之顛覆性聲音。第二章闡釋本論文所採用之理論架構。首先，在巴克汀對於個人、社會族群、異質多音及對話的觀點中，其指出個人的自我創造憑藉於與其他不同意識之間的對話關係。在與他人激烈且無終止的互動對話環境中，個人的內在意識會重新調整主張其新意。而整個個人自我的形成過程中，這持續不斷的對話互動關係會一再地重新定義及重新建構個人的自我，以形成個人獨特的意識形態。所以，巴氏的理論被運用來分析《女戰士》中的主角敘述者如何與主流論述進行對話及如何達到表明自我認同的目的。此外，本章將引用傅柯的理論以補充探討文本中權力關係的運作、絕對性意識形態論述的影響和反制的顛覆性聲音。而這些討論進一步探究主流論述、各角色觀點和主角敘述者的價值觀等多元異質聲音之間的交互對話關係。

第三章分析此主角敘述者如何模糊化真實和虛構之間的界限，質疑主流觀念的權威，並且合法化多元個人創造暫定的論述。作者湯亭亭曾聲明，一個故事會由於聆聽者的需求和時間及空間的因素而造成傳達述說上的改變，而《女戰士》就展現其對於說故事的想法。文本中，主角敘述者的獨特多元文化背景激發她挑戰進而破壞母親所說故事的權威，質疑故事中的絕對旨意，並形成她個人的不同詮釋。此主角敘述者透過在其描述中呈現懷疑、不確定和模菱兩可等特質，以展現多元個人暫定論述的可能性，並進而合法化她位處邊緣的差異。第四章接著說明主角敘述者在整個企圖發聲和自我創造的過程中，如何奮力抵制種族歧視及父權規範，並如何顛覆傳統的迷信和風俗習慣。本章探討了在主角敘述者觀點、母親的思想體系、多元文化概念和現存主流意識形態論述之間複雜的對話互動關係。此主角敘述者在與外界眾社會文化意識形態無止境的協調對話中，重新定義和創造她的自我以形成其另類、不斷變化發展的獨特性。第五章的結論重新檢視白人評論家和華裔美籍評論家的書評並深入談論主角敘述者所主張的另類的自我認同。此主角敘述者打擊主流關於種族歧視、性別歧視及民族文化的意識形態，以創造其身為華裔美籍女性一再地與中國和美國文化對話變化的獨特自我。

Abstract
Maxine Hong Kingston’s The Woman Warrior has been widely discussed for its heteroglot and dialogic elements of diverse socio-cultural ideologies. However, critics who apply Bakhtinian assumptions in their investigation simply focus on the demonstration of the heteroglot and dialogic phenomena interwoven within the text. Left without further research are not only how the young narrator (also the protagonist) dialogizes with multicultural conceptions, ideological belief systems, and individual consciousnesses, but also the motivation and purpose of her utilizing the heteroglot and dialogic strategy. My thesis examines how the narrator-protagonist, a Chinese American woman, challenges the established moral traditions and customs, and the authoritative ideological frameworks of gender and race. Through her (re)telling stories of other women, the narrator-protagonist intermixes multiple contesting socio-cultural ideologies derived from multicultural conceptions of different female characters. The heteroglot sphere of diverse consciousnesses nourishes a dialogical environment for deconstructing the accepted male-oriented and white-oriented views. Moreover, this thesis studies closely how this young narrator- protagonist, with the narrative strategies of heterogenization and dialogization, subverts the imposed patriarchal and racist definitions, voices out her individual ideological consciousness in a unique multicultural background, and forms her alternative self-identity as a Chinese American woman.

To develop my argument, the introduction in Chapter One begins with a brief presentation of the diverse socio-cultural background for Chinese American women and then a survey of the scholarship on The Woman Warrior. By indicating the insufficiency of the researches, this examination anticipates my further investigation of (1) the contesting socio-cultural ideologies within the arena of The Woman Warrior and (2) the subversive voices created throughout the process of challenging, deconstructing, and self-inventing. In Chapter Two, I elaborate the theoretical bedrock on which my discussion bases. First, in M. M. Bakhtin’s views on self, community, heteroglossia, and dialogue, the former Russian critic has argued that one’s self-invention depends on the dialogic relations with other consciousnesses. One’s internal consciousness must be re-accentuated to create new meanings for oneself within the arena of intense interaction and never-ending struggle with others. Throughout the becoming of one’s self, the continual dialogic interaction repeatedly (re)defines and (re)constructs one self toward the formation of an individual ideological consciousness. So, Bakhtin’s assumptions are employed to analyze how the narrator-protagonist in The Woman Warrior dialogizes with the dominant ideological discourses and effects her voicing-out for self-identity. In addition, certain theoretical propositions of Michel Foucault are drawn as a supplement to my theoretical framework for the discussions on the operations of existing power relations, the functioning of absolute ideological discourses, and subversive voices of resistance within the text. And these discussions serve to examine further the dialogic interactions of multiple alien voices from the dominant discourses, the characters’ world views, and the narrator-protagonist’s value pattern.

The third chapter analyzes how the narrator-protagonist blurs the boundary between reality and fiction, questions the authority of dominant views, and gives legitimacy to the created multiple and provisional individual discourses. Kingston asserts that a story changes from telling to telling according to the needs of the listener, and to the interest of time and environment. The Woman Warrior gives expression to Kingston’s view about story-telling. The unique multicultural background of the narrator-protagonist leads her to undermine the authority of the stories her mother tells, to question the fixed messages carried in them, and to accentuate her own re-interpretations. By retaining skepticism, uncertainty, and ambiguity in her narratives, the narrator-protagonist brings out multiple possibilities of contingent individual discourses to legitimize her marginal difference. Next, Chapter Four examines how the narrator-protagonist struggles to confront the racist and patriarchal norms and to subvert the traditional superstitions and customs throughout the process of voicing-out and self-inventing. It explores the complex dialogic interactions between and among the narrator-protagonist’s world view, Brave Orchid’s belief system, multicultural perspectives, and pre-existing ideological discourses. Within the never-ending negotiation with external socio-cultural ideologies, she (re)accentuates and (re)invents her self, and comes to develop the alternative formation of her hybrid uniqueness, forever changing and developing. In the concluding chapter, I re-examine the book reviews and critical essays of both Euro-American and Chinese American critics and further talk about the alternative identity, which the narrator-protagonist comes home to claim. By breaking down the dominant racist, sexist, and ethnic ideologies, she ultimately creates her self-identity as a Chinese American woman, fluid and dialogized with both Chinese and American cultures.

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