這篇論文旨在檢視黃錦蓮《點心的一切》一書中，關於東方主義與亞美文學間，交錯的關係。東方主義，原指西方研究東方的一門學科，後被認為與18、19世紀起，英法的帝國主義及殖民主義緊密相連。世界二戰後，權力的核心自歐洲轉往美國，其以好萊塢電影的形式重現了優越西方與卑劣東方的二元對立結構。華美移民，身處此境，成了電影對華人謬誤思想下，最直接的受害者。然而，部份華美人士從受害者的角色，轉變為加害者，不僅內化了「東方即未開化之地」的意識形態，更視中國人或新移民為那些「真正」落後、未啟蒙的民族。藉由分析《點心的一切》，可發現東方主義是把雙面利刃，同時傷害其擁護者與貶視的對象。為破除這樣的惡性循環及消弭種族、文化的誤解，我們應該抵制對他人，或對自身偏頗、先入為主的價值判斷。

This thesis purports to examine Kim Wong Keltner’s The Dim Sum of All Things and to unravel the intricate relations of Orientalism and Asian American studies. Orientalism, a Western discourse on the Orient, has been declared to have intimate connection with imperialism and colonialism on the East since the 18th and 19th centuries. After the World War II, the power center shifts from Europe to America. Manifested in the form of popular culture, American Orientalism disseminates the polarization of superior Occident and inferior Orient through Hollywood film productions. Chinese Americans, surrounded by these racial misrepresentations, become the first-hand victims of such ideologies and, at the same time, the perpetrators, who turn to Orientalize people in China and newly-arrived Asian immigrants. I will argue that Orientalism is a double-bladed sword as shown The Dim Sum of All Things that injures its holders and targets. To break the vicious circle and to dispel the racial and cultural misunderstandings, one should resist the prejudiced judgments on others as well as on oneself.

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