Marginal sights : staging the Chinese in America / James S. Moy.
Material type:
- text
- computer
- online resource
- 1587291606
- 9781587291609
- American literature -- Chinese influences
- United States -- Civilization -- Chinese influences
- American literature -- History and criticism
- Chinese Americans in literature
- Theater -- United States -- History
- Chinese in literature
- China -- In literature
- HISTORY -- State & Local -- General
- American literature
- American literature -- Chinese influences
- Chinese Americans in literature
- Chinese in literature
- Civilization -- Chinese influences
- Literature
- Theater
- China
- United States
- Am�ericains d'origine chinoise -- Dans la litt�erature
- Litt�erature am�ericaine -- Influence chinoise
- Litt�erature am�ericaine -- Histoire et critique
- Th�e�atre -- �Etats-Unis -- Histoire
- Chine -- Dans la litt�erature
- DRAMA / General
- 973/.004951 20
- PS159.C5 M69 1993eb
- digitized 2010 committed to preserve
Includes bibliographical references (pages 153-158).
Introduction: Siting Race/Staging Chineseness -- The Panoptic Empire of the Gaze: Authenticity and the Touristic Siting of Chinese America -- Bret Harte and Mark Twain's Ah Sin: Locating China in the Geography of the American West -- Henry Grimm's The Chinese Must Go: Theatricalizing Absence Desired -- Panoptic Containment: The Performance of Anthropology at the Columbian Exposition -- Animating the Chinese: Psychologizing the Details -- Casualties of War: The Death of Asia on the American Field of Representation -- Eugene O'Neill's Marco Millions: Desiring Marginality and the Dematerialization of Asia -- Disfiguring The Castle of Fu Manchu: Racism Reinscribed in the Playground of the Postmodern -- Flawed Self-Representations: Authenticating Chinese American Marginality -- Imperial Pornographies of Virtuosity: Problematizing Asian American Life.
Since the beginning of the Western tradition in drama, dominant cultures have theatrically represented marginal or foreign racial groups as "other" & different form "normal" people, not completely human, uncivilized, quaint, exotic, comic. Playwrights and audiences alike have been fascinated with racial difference, and this fascination has depended upon a process of fetishization. By the time Asians appeared in the United States, the framework for their constructed Lotus Blossom and Charlie Chan stereotypes had preceded them.
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