本文旨在探討華裔劇作家黃哲倫劇作內容及風格之發展與轉變。全文分三部份。第一部份探討其早期三本以美籍華人為題材的作品 --《剛下船的》, 《舞與鐵路》, 《家庭崇拜》。在第一章指出黃哲倫對美籍華人圈內的衝突作了細緻描寫與反省。第二章探討此三劇中描述的華人屬性(Chineseness) -- 中國傳奇人物、飲食、及京劇元素。 第三章針對美籍華人的特殊語言形式作一分析。從這三部作品可看出作者強調美籍華人文化之族群特色，與擴展美國文學範疇之企圖心。第二部份討論作者受多元文化主義影響下寫出的三本劇本：《睡美人之家》、《聲音之聲》、《有錢的親戚》。在此時期，黃哲倫認為美國劇場應該製作以各個不同族群文化為題材的作品，作家的寫作題材也不必局限於自己的族群文化。第四章及第五章分別討論了以日本文化及白人家庭為主的作品。作者除了深刻描述日本及白人的文化觀，也點出了一些跨文化的主題供人深思。本文第三部份討論較後期包含不同種族的角色的作品。在此階段，黃哲倫宣稱自己已轉變為平跨文化主義的思想模式，他認為發掘出不同族群間的相似點更是迫切之需。第六章討論的作品中點出不同文化、性別、及階級的人之間共有的生活體驗。第七章針對兩齣在美國百老匯曾上演的作品：《蝴蝶君》及《金寶貝》做深入的分析，藉由檢視劇中呈現的中國文化，了解作者在多種族及多文化並存的美國社會裏，對自己身為“美國作家”之定位。

This dissertation is a research study of the development and transformation of dramatic concerns and techniques in David Henry Hwang’s plays. The study is divided into three parts. Parts One focuses on Hwang’s early three plays about Chinese American experiences – FOB (1979), The Dance and the Railroad (1981) and Family Devotions (1981). Chapter One discusses the theme of communal conflicts in these plays to justify their function of social criticism. Chapter Two pays attention to the Chineseness in these three plays: mythological figures, alimentary images, and Chinese Opera elements. Chapter Three is an analysis of the various language forms in these plays – the acronyms, the transliterations, names, and variant forms of the English language. The emphasis of these ethnic cultural elements justifies Hwang’s intention of expanding the category of American literary canon. Part Two concentrates on Hwang’s three subsequent plays: The House of Sleeping Beauties (1983), The Sound of a Voice (1983), and Rich Relations (1986). With the influence of multiculturalism, Hwang claims that the American theatre should produce plays by and about any ethnic cultures, and that a playwright should not confine his source materials to his own ethnic culture. Chapter Four and Five examine plays of Japanese and Caucasian subjects to see how he demonstrates universal human issues by interrogating some specific cultural groups. Part Three investigates the later plays with mix-raced characters. Chapter Six is an exploration of the intercultural relationship demonstrated in As the Crow Flies (1986), M. Butterfly (1988), Bondage (1992), Golden Child (1996) and Trying to Find Chinatown (1996), which stress both the similarity and the difference between ethnic groups in order to reach a better understanding. Chapter Seven further evaluates the function of Chinese cultural practices in M. Butterfly and Golden Child, both produced on American Broadway stage – to see the playwright’s attempt of claiming his status as an “American” playwright in a multi-racial and -cultural American society.

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