National abjection : the Asian American body onstage
著者
書誌事項
National abjection : the Asian American body onstage
Duke University Press, 2002
- : cloth
- : pbk
大学図書館所蔵 全8件
  青森
  岩手
  宮城
  秋田
  山形
  福島
  茨城
  栃木
  群馬
  埼玉
  千葉
  東京
  神奈川
  新潟
  富山
  石川
  福井
  山梨
  長野
  岐阜
  静岡
  愛知
  三重
  滋賀
  京都
  大阪
  兵庫
  奈良
  和歌山
  鳥取
  島根
  岡山
  広島
  山口
  徳島
  香川
  愛媛
  高知
  福岡
  佐賀
  長崎
  熊本
  大分
  宮崎
  鹿児島
  沖縄
  韓国
  中国
  タイ
  イギリス
  ドイツ
  スイス
  フランス
  ベルギー
  オランダ
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  ノルウェー
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注記
Includes bibliographical references (p. [179]-188) and index
内容説明・目次
内容説明
National Abjection explores the vexed relationship between "Asian Americanness" and "Americanness" through a focus on drama and performance art. Karen Shimakawa argues that the forms of Asian Americanness that appear in U.S. culture are a function of national abjection-a process that demands that Americanness be defined by the exclusion of Asian Americans, who are either cast as symbolic foreigners incapable of integration or Americanization or distorted into an "honorary" whiteness. She examines how Asian Americans become culturally visible on and off stage, revealing the ways Asian American theater companies and artists respond to the cultural implications of this abjection.Shimakawa looks at the origins of Asian American theater, particularly through the memories of some of its pioneers. Her examination of the emergence of Asian American theater companies illuminates their strategies for countering the stereotypes of Asian Americans and the lack of visibility of Asian American performers within the theater world. She shows how some plays-Wakako Yamauchi's 12-1-A, Frank Chin's Chickencoop Chinaman, and The Year of the Dragon-have both directly and indirectly addressed the displacement of Asian Americans. She analyzes works attempting to negate the process of abjection-such as the 1988 Broadway production of M. Butterfly as well as Miss Saigon, a mainstream production that enacted the process of cultural displacement both onstage and off. Finally, Shimakawa considers Asian Americanness in the context of globalization by meditating on the work of Ping Chong, particularly his East-West Quartet.
目次
Acknowledgments
Introduction: "It's not right for a body to know his own origins"
1. "I should be -- American!" Abjection and the Asian (American) Body
2. "The dance that's happening" Performance, Politics, and Asian American Theatre Companies
3. "We'come a Chinatowng, Folks!" Resisting Abjection
4. "I'll be right here . . . right where you left me" Mimetic Abjection/Abject Mimicry
5. "Whose history is this, anyway?" Changing Geographies in Ping Chong's East-West Quartet
Afterword: "Then we'll have drama"
Notes
References
Index
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