Brian Castro was born in Hong Kong in 1950， with Chinese， Portuguese and English descent. He has lived in Paris， Hong Kong and now lives in Australia. Among his eight novels， Shanghai Dancing， one of the China and Asia series， was published in 2003 and won the 2004 Victorian Premiers Award for Fiction， the 2004 Christina Stead Fiction Prize，the NSW Premiers Literary Awards， and "Book of the Year"。　　 Shanghai Dancing is a fictional autobiography， based on Brian Castros family life in Shanghai， Hong Kong and Macau， which is characterized by high modernism， a combination of modernism and postmodernism. Castro attaches high importance to the concepts and theories of Kafka， Derrida， and Lacan. Challenging traditional cultural identity is the focus of his works. With hybrid origin and complex life experiences， his cultural identity inevitably becomes ambiguous. In order to achieve self-creation， Castro tries a variety of genres to break the tradition by applying substantial post-modern approaches. He is fluent in several languages. In his creation， he advocated the idea of inviting the readersfor creative reading. These factors contribute to the complexity and multiplicity in Shanghai Dancing。　　 The thesis uses postcolonial theory and post-modernist theory to analyze the multiplicity in Shanghai Dancing. It is divided into three main parts besides an Introduction and a Conclusion. Introduction is a brief writing on Brian Castro life story， his works on China and a plot summary on Shanghai Dancing. In addition， the relevant theories are briefly introduced. Chapter one mainly discusses a diversity of themes in this novel：identity seeking， disorientation and instability. By analyzing the text and with the help of identity theory， this Chapter points out：on one hand， diasporic writers face the puzzlement of identity and on the other hand they struggle for seeking it. After a careful analysis， it argues that the best cure for them is the world citizen and cosmopolitan place. Chapter two analyzes the manifold character relationship and characterizations. A family tree is described at the beginning of the novel， which displays four generations. The charactersrange in space and time from 17th century Brazil， 1930s Shanghai to 21st century Hong Kong， Sydney. The novel is told by different voices， interacting with the characters and the narrators. Readers are bewildered by the quantity of photographs， maps， and documents illustrated in the narrations. By a close reading of the text， this chapter points out that the characters and characterization in this novel demonstrate a tendency of fluidity and uncertainty， a point also reflected by the conflict between the past and the present. Chapter three mainly discusses the hybrid of narrative strategies. Castro observes that fictional autobiography is the free direction of an author. He thus uses a mixture of the first person narrative and the third person narrative in this novel. A plenty of post-modern narratives are mingled in the novel， such as multi-layered narratives， fragmentation and wordplay。Contrast to the traditional narrative structure， Castro employs a non-linear hybrid structure，in which readers loiter in a dreamlike environment. Then the thesis argues that all the above-mentioned forms of hybridity reflect Castros efforts to struggle for his identity in a white hegemonic culture。　　 Conclusion is drawn based on the analyses of the reasons for the multiplicity in Shanghai Dancing. On the one hand， as a marginal writer， Castro is striving for his subject position by breaking the traditional hegemonic discourse； on the other hand， Castro is freeing himself from the bondage of hybrid identity， and is at the same time building his own identity. Owing to this multiplicity in his works， Castro occupies a double position in Australian literary circle， and he manages to establish himself a solid place in Australian literature and even in the world literature。