生活于西方异质文化语境之中的严歌苓,在吸收西方文学与文化思想的同时,也以自己的中国方式解读着这些思想。在她的作品《扶桑》中,我们不仅能看到西方女性主义所要求的在文学中对女性地位的重视和抒写,更能看到她从中国老子“无为”思想的角度对人物的表现。作者以“无为”思想作为塑造扶桑形象的基点,使这个西方人眼中卑贱的妓女具有超越性。本文正是基于这一点,对严歌苓笔下的扶桑形象进行重新阐释,以期获得对严歌苓思想的进一步理解。 Yan Geling, who lives in the heterogeneous cultural context of the West, absorbs Western literature and cultural ideas and at the same time interprets these ideas in his own Chinese way. In her work “Fuso”, we not only can see the importance and expression of the female status demanded by the western feminism, but also show her the role of the character in the perspective of the Chinese “Lao Zi” which performed. The author uses the idea of ​​ “nothingness ” as the starting point for shaping the image of hibiscus so that the humble prostitute in the eyes of this western man has transcendence. This article is based on this point, to reinterpret the image of Fuso written by Yan Geling in order to gain further understanding of Yan Geling’s thought.