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

1.本文比较了英国现代主义作家劳伦斯（D.H.Lawrence，1885-1930）在《袋鼠》（1923）和《圣莫尔》（1925）中对人群的描写。因此，事实证明，潜在的人群和复仇消失在St. Mawr。2.通过引用沃尔特·本·迈克尔斯所说的“本土现代主义”，从意义和功能的角度分析了《圣莫尔》中亚洲的再现。很明显，“亚洲的核心”就是“鞑靼人”，圣莫尔表达了对黄祸的危机感，就像洛斯罗普·斯托达德（Lothrop Stoddard，1883-1950）的《有色人种反对白色世界霸权的浪潮》一样，把美国的恐惧叠加在欧洲身上。但是，对恶的特征的仔细考察表明，来自“亚洲核心”的恶在文本中成为一个漂浮的能指，没有明确的指涉。通过参考吉尔·德勒兹和米歇尔·福柯的一些作品，圣·莫尔和《羽蛇》（1926）从纳粹主义和帝国主义的角度进行了研究。因此，它已被证明，圣莫尔是更多地参与本土主义比迈克尔斯允许和羽蛇是反帝国主义以及纳粹主义。

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.