A Study on Representations concerning the Crowd of the Asia-Pacific Basin in Modern British and American Literature

1. 比较了英国现代主义作家d.h.劳伦斯（1885-1930）在《袋鼠》（1923）和《圣毛尔》（1925）中对人群的表现。结果，在圣毛尔，群众和报复的潜力消失了。参照Walter Benn Michaels所说的“本土现代主义”，分析了亚洲在St.Mawr的表现的意义和功能。很明显，“亚洲核心”指的是“鞑靼”，圣毛尔对“黄祸”表达的危危感与洛斯罗普·斯托达德（Lothrop Stoddard, 1883-1950）的《反对白人世界霸权的有色浪潮》（the Rising Tide of Color against White World-Supremacy）一样，将美国的恐惧叠加在欧洲身上。但是，仔细研究邪恶的特征就会发现，来自“亚洲核心”的邪恶变成了一个漂浮的能指，在文本中没有明确的所指。通过参考德勒兹和福柯的一些作品，从纳粹主义和帝国主义的角度来审视《圣毛尔》和《羽蛇》（1926）。因此，事实证明，圣毛尔与本土主义的关系比迈克尔斯所允许的更密切，《羽蛇》既是反帝国主义的，也是纳粹主义的。

1. The representations of the crowd in Kangaroo (1923) and St.Mawr (1925) by D.H.Lawrence (1885-1930), a British modernist writer, were compared. As a result, it has turned out that the potential of the crowd and revenge disappears in St.Mawr.2. By reference to what Walter Benn Michaels terms "nativist modernism," the representation of Asia in St.Mawr was analyzed in terms of its meaning and function. It has become clear that "the core of Asia" is meant to be "Tartary" and that St.Mawr expresses the same sense of crisis over the Yellow Peril as The Rising Tide of Color against White World-Supremacy by Lothrop Stoddard (1883-1950), superimposing the America fear on Europe. But a close examination of the features of evil has revealed that evil from "the core of Asia" becomes, as it were, a floating signifier without a clear referent within the text.3. By reference to some works of Gilles Deleuze and Michel Foucault, St.Mawr and The Plumed Serpent (1926) were examined in terms of Nazism and imperialism. As a result, it has been proved that St.Mawr is more involved with nativism than Michaels allows and that The Plumed Serpent is anti-imperialistic as well as Nazistic.