論文摘要
本論文旨在探討譚艾美於《百種神秘感覺》中運用的東方主義技巧。書中主角奧麗維雅是中美混血兒。本論文採用詹隴西自我形朔的理論來探討奧麗維雅的自我定位。詹隴西的理論旨在說明自我的形朔存在於他者的朔造。從主角所表達的她和其同父異母的姊姊關的差異，如關的神秘性與其洋京濱英語，我們知道奧麗維雅視關與其中國文化傳統為他者。藉由把自己和關與其中國血統分開，奧麗維雅得以確立其美國定位。除了否認其同父異母的姊姊關外，奧麗維雅也跟隨西方人東方化東方的傳統，來東方化關與中國。東方專家如藍尼和夏多布里昂，他們用西方的想像來描述東方的種種，奧麗維雅也根據其對中國的想像來期盼關也是個神秘人物。像奧麗維雅，藍尼和夏多布里昂一樣，譚艾美亦根據其對中國的想像，把她書中的中國角色描述成神秘的他者。因為作者根深柢固的東方主義或如薩伊德所言的東方本性，她只在乎中國和中國人的固定形象。在其眼中，中國人的固定形象遠比活生生的中國人來得重要，而中國的神秘性遠比真正中國人住的地方來得意義深遠。因此書中神秘且可怕的中國與神秘且盲目忠心的中國人只是作者東方化中國的展覽櫥窗中業已東方化了的地方和人民。

Abstract
The purpose of this thesis is to probe Amy Tan’s manipulation of Orientalist discourse in her third novel The Hundred Secret Senses. Its protagonist Olivia is a hybrid of a Chinese father and an American mother but she identifies herself as an American, instead of a Chinese. To investigate her identity, Zhang Longxi’s theory about the formation of the Self is introduced. According to Zhang, the formation of the Self is through the formation of the Other. From the differences Olivia defines, like her Chinese half-sister Kwan’s mysterious behavior or pidgin English, we can see that Kwan and her Chinese cultural heritage are categorized by her as the Other. By differentiating herself from Kwan and her Chinese origins, Olivia’s identity as an American is thereby confirmed. In addition to her rejection of her Chinese sister, Olivia also Orientalizes her and China just as Western Orientalists do to the Orient. Like Edward William Lane and Francois-Rene Chateaubriand, who describe the Orient according to their Western imaginings, Olivia prompts Kwan to act as a mysterious figure according to her image of the Chinese. Like her protagonist Olivia, Lane and Chateaubriand, Amy Tan describes her Chinese characters and China as the mysterious Other according to her imaginings. Because of her insistence on Orientalist imaginings or, in Said’s words, the “primitiveness” of the Orient, Tan gives priority to the stereotypes of the Chinese and China. In her eyes, the image of a Chinese is more important than a Chinese as a human being, and China’s being a mysterious place makes more sense than China as a place in which the Chinese actually live. Thus the mysterious and horrifying China and the blindly loyal Chinese are only the Orientalized place and people in the showcase of Tan’s Chinese Orientalization.

Works Cited
Abrams, M. H. A Glossary of literary Terms. 7th ed. Boston: Heinle & Heinle, 1999.
Chin, Frank, etal. Introduction. The Big Aiiieeeee: An Anthology of Chinese American
and Japanese American Literature. Ed. Jerrey Paul Chan, Frank Chin, Lawson
Fusao Inada, and Shawn Wong. New York: Meridian, 1991.
Chin, Frank. The Chickencoop Chinaman and The Year of the Dragon: Two Plays.
Seattle: U of Washington P, 1981.
Foucault, Michel. The Order of Things. New York: Vintage Books, 1973.
Kim, Elaine H. Asian American Literature. Philadelphia: Temple UP, 1982.
Lee, Ken-fang. “Cultural Translation and the Exorcist: A Reading of Kinston’s and
Tan’s Ghost Stories.” MELUS. 29.2 (2004): 105-127.
---. “A Postcolonial Translator of A Cultural Tour Guide? A Reading of Tan’s Works.”
Fiction and Drama. 17(2007): 67-92.
Ling, Amy. Between Worlds: Women Writers of Chinese Ancestry. New York:
Pergamon P, 1990.
Ma, Sheng-mei. “’Chinese and Dogs’ in Amy Tan’s The Hundred Secret Senses: Ethnicizing the Primitive a la New Age.” Melus. 26.1 (2001): 29-44.
---. Immigrant Subjectivities in Asian American and Asian Diaspora Literatures. New York: State University of New York Press, 1998.
Said, Edward W. Orientalism. New York: Vintage Books, 1979.
Tan, Amy. The Hundred Secret Senses. New York: Ivy Books, 1995.
---. The Joy Luck Club. New York: Ivy Books, 1989.
---. The Kitchen God’s Wife. New York: Ivy Books, 1991.
---. The Opposite of Fate. London: Harper Perennial, 2004.
Wong, Sau-ling Cyinthia. “’Sugar Sisterhood’: Situating the Amy Tan Phenomenon.” Amy Tan’s The Joy Luck Club: Modern Critical Interpretations. Broomall, PA: Chelsea House, 2002.
Yu, su-lin. “Ethnic Sisterhood in Amy Tan’s The Hundred Secret Senses.” Fiction and
Drama. 15 (2004): 143-155.
---. “Sisterhood as Cultural Difference in Amy Tan’s The Hundred Secret Senses and Cristina Garcia’s The Aguero Sisters.” Critique 47 (2006): 345-361.
Zeng, Li. “Diasporic Self, Cultural Other: Negotiating Ethnicity through
Transformation in the Fiction of Tan and Kingston.” Language and Literature.
28 (2003): 1- 15.
Zhang, Benzi. “Reading Amy Tan’s Hologram: The Hundred Secret Senses.” The International Fiction Review 31 (2004): 13-18.
Zhang, Longxi. “The Myth of the Other: China in the Eyes of the West.” Critical Inquiry. 15 (1988): 108- 131.