本論文主要研究亞裔加拿大作家崔維新的《紙影：唐人街的童年回憶錄》、關富烈的《鑽石燒烤店》與柯溫愛的《脈動》中的唐人街空間與記憶，視唐人街為一符號域，其中的集體與個人離散記憶透過種族、文化與性別的符號交會且產生相互作用。從尤里‧洛特曼的符號域理論與莫里斯‧哈布瓦赫等人對於記憶如何傳達文化的看法，我們可發現三部文本中的唐人街「過去曾經」、「現下應該」與「未來可能」呈現出的樣貌。由不同的時間性，我們也將發現此空間是異質的，且隨時可能產生變動。依據洛特曼對於符號空間內部的區隔，文本裡的唐人街可分為中心地帶、邊陲地帶以及介於兩者間的界限。不過，即便有所區隔，透過對話機制，邊緣將可穿越界限，進入中央，取代原有的中心，進而構間出新的符號域。
唐人街的空間內累積了各種記憶文本，而文本間的交互作用，將分離出中心與邊緣。本論文將檢視記憶的文本如何形塑出唐人街的中心與邊緣空間。由集體記憶文本構成的中心，象徵了離散華人的歷史。不過，圍繞著中心的個人記憶文本將可能改變集體記憶的內容。為討論個人記憶的機制如何去中心，本論文也將記憶視為一種行動。作品中，敘述者「我」透過回憶唐人街的童年往事，除了在敘事中與自我對話，更和那一同生活於唐人街的集體華人社群、加拿大的西方主流社會、甚至是其他族裔離散社群交流。過程中，敘述者們將居中斡旋著那離散經驗之後，衍生的族裔、文化甚至是性別認同問題。我們將看到《紙影》裡那傳承中國文化記憶的粵曲劇院，於第二次世界大戰前曾是溫哥華唐人街的中心，如何在主述者的回憶敘事裡，成為一個被政治去中心的空間。而《鑽石燒烤店》那1950年代的餐館，位於溫哥華唐人街之外，匯集了多數華裔與其他少數族裔，充斥著不同世代與性別的離散經歷，可視為符號空間的界限。而經由回憶，主述者將突顯出餐廳作為一界限，如何促使各類身分於越界的過程中的角力，以及混雜的可能。《脈動》裡個人敘事下的多倫多唐人街，或是新加坡加東區的唐人街，都曾被視為由父權宰制的中心。然而，透過各種移動，如把脈、針灸、綁縛遊戲，以及旅行等，主述者將標示出迴避中心的路徑。移動的行為將促使個人將一度被掩飾、忘卻的過去，演示出來，從而建立新的符號域。受到回憶的機制的影響，唐人街空間作為一符號域，將可能去中心、被再製，甚至衍生出其他的符號空間。而個人的身分也將隨著符號域的變動，被置於跨國，跨文化與跨性別的架構下。

In Wayson Choy’s Paper Shadows, Fred Wah’s Diamond Grill and Lydia Kwa’s Pulse, the space of Chinatown functions as a semiosphere where texts of diasporic memories intersect and transact via signs of ethnicity, culture and gender. Infused with ethnic stereotypes, Chinatown used to be the peripheral space in the Anglo-European society. Yet, to the diasporic Chinese, the town loaded with collective memory had once been the center of their life. In addition to being both a periphery and a center, the space is a boundary to Canadians of Chinese descendent. Thinking through Yuri M. Lotman’s conception of semiosphere and theories on memory by Maurice Halbwachs, Jan Assmann, Aleida Assmann, Harald Welzer and Mieke Bal, I argue that the Chinatown in the selected works functions as a semiosphere with demarcation of the center, the periphery and the boundary. Despites the separation, the periphery may transgress the boundary to approach the center. The transgression when triggering the memory texts to intersect and transact allows the periphery to push the center away and replace it. Following the alternations of the center and the periphery, the semiosphere is constantly under reconstruction.
I explore memory both as text and as act. As text, memory structures the content of the Chinatown. With collective memory at the center, the town symbolizes the monumental history of the diasporic Chinese. Yet, individual memory texts that scatter around the center may decentralize the town. In the selected works, the authors manipulate the I-narrator to recollect his or her Chinatown childhood. However, the memory is never complete due to the lapse of time. The narrator therefore conjures the past in the present reality via memory acts. By selectively remembering or forgetting “things past,” the narrator represents Chinatown as a heterogeneous unity of different rhythm. On contemplating “what the [town] had been” in the past, “what the [town] should be” in the present and “what the [town] could be” in the future, the individual converses with the diasporic group, with the Caucasian society, and even with the self of the past. The dialogue mechanism, while illuminating the crisis of his/her Chinese Canadian identity, makes the individual to reevaluate the identity. Setting the space of Chinatown under construction, the narrator is to relocate the identity in a transnational, transcultural or transgender network.

TABLE OF CONTENTS

論文審定書 i
Acknowledgements ii
摘要 iii
Abstract v
Introduction 1
I. Motivation and Background 1
II. Methodology 12
III. Literature Review 17
IV. Dissertation Structure 23
Chapter 1 Chinatown as a Semiosphere and Acts of Memory 29
I. On Lotman’s Semiosphere 29
II. Acts of Memory 44
III. Chinatown as a Semiosphere where Diasporic Memories Intersect 51
Chapter 2 Decentralizing Chinatown in Wayson Choy’s Paper Shadows 57
I. In Dialogue with the Mother: A Shift from I/she to I/I System 58
II. Individual Memory Enacted to Decentralize the Chinatown Core 62
III. The Movement of the Periphery 78
IV. Conclusion 84
Chapter 3 Making of Boundary in Fred Wah’s Diamond Grill 87
I. In Dialogue with the Father: Structuring a Reflexive “You” in the I/I System 91
II. Trans-relation made by the I-narrator: From the Collective personality to the Separate individual 93
III. Making of Boundary: Tactics of Faking and Mechanism of Translation 103
IV. Conclusion 117
Chapter 4 Mechanism of the Forgetting: Space Outside Chinatown in 119
Lydia Kwa’s Pulse 119
I. Autocommunication: Tracking the Trauma Lurking in the Body 125
II. Mapping the Patriarchal-centered Chinatowns 131
III. Detouring around the Town Center through Acts of Memory 138
IV. Conclusion 146
Conclusion 147
Works Cited 159

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