On Shanghai Images In Literary Texts From The Postcolonial Perspective

Taking Postcolonial perspective as theoretical basis and usable references, this thesis tries to systematically reveal the variable meanings in Shanghai images constructions by Sino-Western authors, in order to push forward the research on Shanghai Studies and to illustrate its theoretical and practical significance. It is mainly based on the blending approaches of Orientalism, Self-orientalism by Edward W. Said, Postcolonial Feminism by Gayatri C. Spivak and the Hybridity Theory by Homi K. Bhabha. In order to reread the Shanghai Images in literature and interpret some academic puzzles, the thesis has explored the similarities and differences in the Blending Background of Chinese Cultures with its'Western ones, saying the narrators interpretations about Shanghai can become the visual viewpoints seeing the actual city and the reading on the tests will exert a deep-going influence on the city's civilizating constructions.The thesis consists of three chapters in addition to the introduction and conclusion parts.In the introduction, the central argument and the study purpose are put forward to studying Shanghai as a cross-cultural metropolis in the meaning of Modernity and Postcolonial in literature. The author firstly makes a theoretical definition of"the Postcolonial Perspective", introduces the existing and relevant research results and presents the frame of the paper and innovative points.Chapter one probes into, from the standpoint of Orientalism theoretical frameworks by Edward W. Said, the Western writers'Shanghai images. Firstly, it dates back to the days when the westerners'coming to Shanghai, taking the city as the Adventures'Paradise with Observers'sight. Secondly, it traced how the westerner constructed their urban spaces in Shanghai and what were their Shanghai Spaces'characteristics. Finally, it reveals how the Western Observers describe the Shanghainese with the concept of "framework", which formed a figure in the novel depicts the topography, programmable types. In their eyes, the face of Shanghai had been modularized and had become something more exotic and it was them successfully built the Shanghai Glamour.Chapter two aims to explore the meaning of Shanghai Images with Self-orientalism and Postcolonial Feminism by Gayatri Chakravorty Spivak. Firstly, how the oversea Chinese authoresses built the"Otherness"images. As the women from the Third World, they were not only"Other", but also"Otherness". They Shaped the special shanghai images to meet the western criteria using Self-orientalism approaches.Chapter three approaches Zhang ailing's hybridized features by the Hybridity Theory by Homi K. Bhabha. It examines Zhang ailing's multiple narrative perspectives which acknowledged Shanghai as a rightful place of hybridization in a semi-feudal and semi-colonial Shanghai society. Firstly, it analyzes how Zhang Ailing's works were evocative of the type of The Third Space. Then it explorers how her fiction works deconstructed the western hegemonism in both content and form using"Imitation"techniques. Finally it draws out the inspirational functions form Zhang Ailing's subversion to today's literature creations and critics. Finally, it states how can the Chinese authoresses stepped out the dark of Self-orientalism by an example of Chen Danyan from mainland China, traces how has she manage to make a breakthrough in the dual opposite concept between West and East.The conclusion part points out that, it is the Postcolonial Theory that has brought a new altitude and distant perspective to identify the colorful and multiple Shanghai Images in the age when the East meets the West. It also has provided the illuminating sight for us to deal with the similar sort of culture, literature and art subjects.