值此國家族群邊界消融的全球化情境、跨國移民的流動脈絡下，跨疆域邊界的移民與遷徙往往指涉了文化認同的駁雜與重新協商的必然性。本論文藉由探討當代南亞移民女性作家米娜‧亞歷山大、鍾芭‧拉希莉、芭拉蒂‧穆可吉及莫妮卡‧阿里的五部作品《曼哈頓樂音》、〈賽恩太太〉、《同名之人》、《茉莉》與《磚巷》，試圖聯繫南亞離散論述中，移民女性身體與其認同政治的相互演繹關係。在理論方法學上，本論文試圖將作品中南亞女性身體與移民認同議題置放於族裔研究、後殖民、跨國女性主義等相互匯流纏繞的多元論述中，重新詮釋作品中第一代南亞女性移民在面對主流文化強勢的召喚、消音時，她們如何將被異己化、族裔化的身體挪轉為離散脈絡下的異質展演場域，進行自我陳述，再現擺盪於懷鄉與全然同化兩種極端面向之中間光譜帶上，多元層次的抵抗或自我認同的重新協商與形塑，開展南亞移民女性其個人情感、家庭關係、與印裔社群交流等深刻的生存詩學。第一章探討《曼哈頓樂音》中，移民女性桑蒂雅處於文化錯置生活情境下，身體感知的異化、重塑過往記憶與主體性重建的可能性。第二章節審視〈賽恩太太〉、《同名之人》中，賽恩太太與阿希瑪如何將飲食風格作為身體外延的轉喻與自我表述的手法，將被族裔化的飲食差異，挪轉為離散脈絡下日常生活實踐的策略與技術，進行對主流文化霸權的抵抗、自我認同的重新協商與形塑。第三章節則分析《茉莉》一書中同名主角茉莉身上所體現之自我認同的踐履展演中，因生存之迫切必然性所發展出的順服性與顛覆性並存之女性移民面向。第四章節探討小說中女主角納茲琳的身體如何由孟加拉離散社群再畛域化其國族想像所加諸移民女性的桎梏，藉由身體的踰越性行動，逸出此國族主義的召喚，拒絕複製回返原鄉的迷思，從而建構其離散脈絡下的能動性。五部作品中的女性角色串連成一南亞女性移民能動性的光譜，其各具異質性的面貌實則是南亞多音敘述多元並陳的離散論述之縮影。

This dissertation traces the contemporary immigrant narratives of the South Asian female writers Meena Alexander, Jhumpa Lahiri, Bharati Mukherjee, and Monica Ali, examining the ways in which the main female characters Sandhya Rosenblum, Jasmine, Mrs. Sen, Ashima Ganguli and Nazneen act as the epitome of the various ways in which immigrant identities of South Asian women are narratively resisted, performed, negotiated, and transgressed. The female protagonists display a revision of the tradition of immigrant literature by showing a fragmentary concept of identity. Neither persuaded by the assimilation models of cultural identity reformation nor adopting a complete rejection of foreign culture by adhering to a nostalgic melancholy, they advance a heteroglossic, dialogical concept of self and open up a spectrum-like space between the two extremes of immigrant narratives. Marked as dislocated and marginalized, the immigrant woman’s body signifies emergent diasporic subjectivities and identities, revealing the importance of the lived body as a vital facet of the migratory experience. This dissertation not only explores the ways in which immigrant female bodies serve as sites for the articulation of the traumatic displacement, but also attempts to study the transgressive ways in which the female bodies become the loci for resistance and ultimately for the construction of negotiable agency. I draw my academic inspiration from a wide range of theories as well as border studies in approaching these selected works. I read these immigrant women’s rebuttals to varied coercive ideologies, such as Indian patriarchy, nationalism and westernized assimilation, as situated in the intersecting space crisscrossed by postcolonialism, ethnic studies and transnational feminism, and have selectively referred to theoretical concepts drawn from each of these backgrounds. Such an interdisciplinary inquiry attempts to further problematize and amplify the complexity and heterogeneity of immigrant women’s predicaments in re-fashioning a subjectivity as well as agency. The first analytical chapter elaborates Mena Alexander’s powerful narratives to articulate how the marginalization as an ethnic Other proves to be overpowering for the diasporic woman Sandhya Rosenblum. In analyzing Manhattan Music, I explore the ways the female body is in relation to memory and migration. The second analytical chapter on Jhumpa Lahiri’s “Mrs. Sen’s” and The Namesake delves into the indivisible correlations between immigrant women’s gendered bodies and foodways, elucidating how the culinary praxis as ritualized everyday activities elaborate the lives of subjugated and marginalized female subjects in diasporic contexts. The third chapter on Bharati Mukherjee’s Jasmine aims to explore the duality of Jasmine’s bodily submissiveness and subversiveness which coexist within Jasmine’s mobility out of necessity and ineluctability. That is to say, in defining her mobility, Jasmine’s body serves as a contested site exposing others’ predominance over it in both racial and gender terms, while also performing a kind of subversive resistance from within this power hierarchy. In the fourth analytical chapter on Monica Ali’s Brick Lane, I explore the relations between migrant women’s bodies and gendered notions of home and nationalism, highlighting the relationship between immigrant women’s formation of agency and their roles as economic migrants. To use the concept of a spectrum as a metaphor for South Asian immigrant women’s aesthetics of existence, the female protagonists, Sandhya, Mrs. Sen, Ashima, Jasmine and Nazneen, who appear in the dissertation, represent a gradual development towards self-assertion.

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