在二十世紀流亡文學的脈絡中，有一批華裔小說家以法語書寫流亡海外之經驗及去國懷鄉之感。原籍中國上海，應晨於1989年移民到加拿大魁北克，後於2003年移居溫哥華。她的法語小說作品以「流亡」為主題，與當時許多書寫移民經驗的流亡作家同被歸屬於1980年代開始盛行於魁北克文壇之「移民文學」( litt?rature migrante) 或「移民書寫」( ?criture migrante)。然而，應晨的創作背景不同於移居法國的華裔法語小說家，並不以文化橋梁為使命來傳遞「永恆中國」的形象；其移民書寫也與當時魁北克的移民作家不盡相同，跳脫移民經驗的框架，強調內在形而上的流亡。
本篇論文將以應晨前三本小說作品：《水的記憶》(La M?moire de l’eau)、《中國書信》(Les Lettres chinoises)、《孽女》(L’Ingratitude)為研究文本，探討應晨小說作品中的流亡與身分認同問題。本研究共分為三大部分：論文首章將探討應晨小說中如何透過女性人物的刻劃來呈現流亡的議題。第二章試圖從流亡的空間、時間與精神面向來探討流亡經驗中，因個體自我異化所導致之「無身分」(la non-identit?)之身分認同。第三章則是以應晨小說中流亡意象、敘述技巧以及偏向「陰性書寫」的寫作特徵為詮釋框架來探討應晨如何透過自己的書寫，讓流亡經驗與書寫之間緊密的關係躍然於紙上。應晨身為女性移民作家，經歷了移民在地理疆界上的流亡、女性內在世界的流亡及文學創作之流亡；透過女性、移民與書寫的流亡經驗之疊合，呈現了流亡意義的普遍性(universalisme)，即一種自我與他者界限消融後，無根的飄泊狀態。
The identity of the non-identity in Ying Chen’s novels
In the context of Exile literature in the twentieth century, we note a number of Chinese emigre writers writing in French about their exile experiences and nostalgic feelings of their motherland. Among them, Ying Chen was borned in China, immigrated to Quebec, Canada in 1989, and later on moved to Vancouver in 2003. Her novels are full of images of “exile” and are classified as “migrant literature” (litt?rature migrante) or “migrant writing” (?critures migrantes) which flourished in the literary circles within Quebec in the 1980s, just as many immigrant writers who experienced an exercise in cross-cultural thinking during this period of time. However, she declines the mission as a cultural bridge to deliver the images of "Eternal China" in virtue of her exceptional background compared to the other Chinese–French authors
also, she breaks away from the frame of migration experiences by emphasizing an exile more metaphysical, which makes her migrant writing particular compared to her contemporary immigrant writers in Quebec.
This paper will focus on the first three novels of Ying Chen: “La M?moire de l’eau”, “Les Lettres chinoises”, and “L’Ingratitude” with the purpose of probing into the exile and identity issues in her works. The study is divided into three parts: The first chapter provides a detailed discussion on the presentation of female characters in her novels and its significance to the exile issue. The second chapter attempts to explore the concept of “non-identity” (la non-identit?) in exile experience at three different angles: spatial, temporal and spiritual dimensions in exile. The third chapter employs new interpretive frameworks including the usage of images, narrative skills, and a writing style close to “female writing” to observe how Ying Chen vividly presents the close relationship between exile experience and writing through her own writing. As a female immigrant writer, the author went through different forms of exile: of geographical boundaries, of the inner self, and that of writing
by combining the exile experiences of women, immigrant and writing in her exilic writing, she emphasizes the sense of universality (universalisme) in exile, that is, an endless oscillation between sameness and difference and the dissolution of the boundary which leads to a rootless wandering state.