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1、AbstractEthnic minority writers are unavoidable to produce identification crisis and anxiety,because contemporary minority nationality literature is under the treble words hegemony:world literature, literature of Han nationality and elite literature. So in this solution, wemust emphasize constructin
2、g the sense of identity of ethnic minority literature under themodernity meaning. The enlightenment of our ethnic minority literature lies in Ye Meiswriting: on one hand, she has a deep love for national culture, strong national pride andtenacious nationalitys self-confidence; on the other hand, she
3、 has strong national sufferingconsciousness, strong introspective consciousness and critical assessment of culture andculture reconstruction consciousness. She knows clearly the complexity and relativity ofnational culture-identity-founding, so she can go beyond herself and move towards topositive ,
4、 dynamic and open identity construction, trying to talk with world and mankind.The paper is composed of the following three parts. That is，the introduction、main bodyand conclusion.Introduction: This part introduces the development of minority nationality literatureand Tujias literature, reviews the
5、course of her writing and comments upon her and hernovels. And then it will extend to the standpoint of this thesis.There are three parts altogether in main body.Part One: This part focuses on the exploration of national minority character andnational minority psychology, the showing of Tujia nation
6、al minority customs and religion,and the thinking of national destiny and culture changes in Ye Meis novels. Through theseviewpoints , we can find the relationship between the writer and her own native culture.Part Two: The process of Ye Meis national culture-identity-founding is dynamic anddrifted
7、as well as unified and integrated. It not only conveys the combination betweenother works and itself but also reveals its existence during the comparison with others. Allabove has attached positive enlightenment to the ethnic-group writers new identityreconstructing and position-fixing in the global
8、 context.The expressions of the females parole are complicated in Yemeis novels. Integratedwith the national langue, the female consciousness always fights with the waking of thenational awareness. Sometimes she bears strong emotion of female consciousness butsometimes she cant criticize the masculi
9、nity as deep as possible. The particular survivalstate, survival consciousness as well as the value of the females in Tujia Community havebeen conveyed through her novels.Part Three: Ye Mei combines the western narrative ways and traditional narrativemeans of Tujia nationality together. Her works in
10、herit and surmount traditional narrativeways, and build special poetic art. The novels focus on the cultural characteristics of Tujianationality and also stress the modern culture, trying to weld “pioneer” and “local culture”perfectly together.Conclusion: Through the systematic study on Yemeis novel
11、s, I try to find her novelsunique value in Chinese contemporary national minority literature, by making a historypositioning and valuation.IIIKey words: Ye Meis NovelsTujias CultureCulture-identity-foundingNarrative CharacteristicModernityIV三峡大学学位论文原创性声明本人郑重声明：所呈交的学位论文，是本人在导师的指导下，独立进行研究工作所取得的成果，除文中已
12、经注明引用的内容外，本论文不含任何其他个人或集体已经发表或撰写过的作品成果。对本文的研究做出重要贡献的个人和集体均已在文中以明确方式标明，本人完全意识到本声明的法律后果由本人承担。学位论文作者签名：I日期：绪论中国当代少数民族作家文学是一个姗姗来迟的概念，它长期以民间文学的方式被含混的记录在中国文学史里，被忽略、被遮蔽。解放后，少数民族文学又被明确置于“社会主义性“的刚性框架内显现不出独立价值。新时期以来，由于文学观念的解放和国家政策的扶持，更重要的是少数民族作家“民族意识”的觉醒，少数民族文学取得了长足发展，思想活跃、新人辈出、创作繁荣，作家文学逐步成为文学的主体，文学呈现多元化状态。各少数
13、民族作家把自己的创作深深植根于民族文化的土壤，把发掘各民族文化精神，表现各民族生命状态和性格气质作为自己义不容辞的责任，创作出一批又一批优秀作品，如鄂温克族的乌热尔图多年扎根大兴安岭林区,熟悉本民族人民的生活和心理,以七叉犄角的公鹿等“森林猎人小说”连续三次荣获全国优秀短篇小说奖；回族作家张承志用“中亚文化小说”抒写出一曲曲雄浑苍凉的人生牧歌；藏族的扎西达娃以“西藏魔幻现实主义小说”，通过一系列命运独特、神奇诡谲的悲剧个性,为人们揭示出雪域佛地一层层隐秘的面纱。中华民族的文化是各不同的民族共同创造和拥有的，少数民族文学是中国文学不可分割的一部分，各民族的文化没有高低优劣之分，这个观点已被广泛接
14、受和认同。少数民族文学有着丰富而雄厚的不同于汉族文化的文化传统孑留，它独特的清新气息，以及它文字里散发出来的那种与土地，与人性的纯净本源更贴近的文化特质使它在新的政治经济信息迅猛发展的潮流中迸发出异质而新鲜的生机与活力，这两方面构成了向主流文化质疑，为其提供补苴罅漏的巨大潜能。尽管如此，少数民族文学还是处于被动的发展状态，事实上如果将少数民族的文学成果集中在一起就略显单薄，往往淹没在以汉族文学为代表、为主体的中国文学总体成就中。人类进入二十世纪下半叶后，科学技术和经济的迅猛发展，极大的改变了这个星球上的一切既往联系，走向“世界文学”已成为趋势，少数民族作家不仅在国内范围与其他民族进行交流、融合，而且获得了与不同国度不同民族的文学直接对话的机会，“多元状态下的交流互动，是我国当代少数民族文学的现实生存氛围；互动状态的多元发展，则又是当代少数民族文学的持续追求目标，”1这既是一个机遇，也是一个挑战。当代少数民族文学处于世界文学、汉族文学、精英文学的三重话语霸权之下，少数民族作家不可避免产生身份认同危机和言说的焦虑，他们的边缘化处境可以说是先不足和后天失调的双重结果。全球一体化的冲击和挤压，汉民族文学的诱导，
