二十世紀交替之際，一群懷抱著能在美國重獲經濟穩定生活的日裔移民登陸了美國。然而，這樣看似圓滿的美國夢卻不如預期般順遂，包含美國政府頒布的不平等法條、美國社會對亞裔新住民的差別待遇以及日裔移民者第一代和第二代之間的嚴重代溝問題都成了日裔美國人尋夢的絆腳石。事實上，日裔美國人既無法順利將美國打造成夢想中的家，也屢次在建立新家時遭遇挫敗。這些經驗不僅揭露了「家」﹝home﹞在意識形態上令人爭論不休的本質，還引薦了「家」即是「社群」﹝community﹞的概念；換句話說，這樣的倫理需求與其依賴血脈或家族孕育生長，倒不如藉由友誼關係以及人際款待﹝hospitality﹞的交互作用滋養而生。內田淑子﹝Yoshiko Uchida﹞在1987年發行的《照片新娘》﹝Picture Bride: A Novel﹞，描述一位女性不僅獨自以照片新娘身份抵達陌生的美國，更經歷過「拘留營」﹝detention camp﹞的磨難。更值得關注地是，這本小說一方面要求讀者重新思索「家的打造」﹝home-making﹞，另一方面，它透過「人權」﹝human rights﹞對話試圖強調將「美國夢」和「家的打造」相連的等號應該適用於全人類，進而生動地呈現了早期移民者的主體性與「能動性」﹝agency﹞。這本論文的兩個章節分別藉由「家的打造」與「人權」兩個議題，讓讀者隨著小說的脈絡體驗日裔美國人在家的打造以及自我創造上所表現的堅忍不拔精神。

At the turn of the twentieth century, a massive Japanese immigration influx landed in the American soil as Japanese immigrants attempted to achieve an economically promising life in America. However, the American Dream of these Asian newcomers is often frustrated or deferred, with American government’s racist laws, American society’s differential attitudes towards Asian immigrants, and the generational gaps between Issei and Nisei being among the numerous hardships Japanese Americans had to confront. As their desire to make the United States as their new home is denied and their home-making efforts thwarted, their experiences highlight the contestatory nature of the ideologies of “home” as they also register the ethical imperative to read “home” as a “community” bound less by kinship or genealogy than by friendship and hospitality. Yoshiko Uchida’s Picture Bride: A Novel, published in 1987, registers the sufferings of a woman who came to America as a picture bride and who was later sent to the detention camp. More importantly, however, it is a novel that not only compels the reader to reconsider the notion of “home-making” but it also fleshes out early immigrants’ subjectivity and agency as they use “human rights” discourse to reframe “American Dream” as a “home-making” dream that should be available to all. The two chapters of this thesis respectively treat the “home-making” project and the “human rights” claim to conclude that the novel bears witness to the ongoing efforts of Japanese immigrants for home-making as well as for self-making.

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