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연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
논문 기본 정보
- 자료유형
- 학술저널
- 저자정보
- 발행연도
- 2017.4
- 수록면
- 89 - 120 (32page)
- DOI
- 10.29163/jmed.2017.04.30.1.89
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초록· 키워드
오류제보하기
This paper examines changing views on racial identity and sexual identity politics in Asian American plays, David Henry Hwang’s Face Value (1993) and Yellow Face (2007), Julia Cho’s BFE (2005) produced in the 1990s and the early 2000s. The failure of Face Value, a farce about mistaken racial identity provides Hwang with an opportunity to dismantle his face as a public face which represents one of the most successful model minority Asian Americans brought upon him with the great success of his M. Butterfly (1988). And the changing ethnoscape of intercultural American society in the 1990s also makes Hwang face the landscape of a deterritorialized world and look for his and Asian American’s new face. With Yellow Face he achieves his satiric atonement for his foolish performance as a public face and a model minority, by using a self-humiliation strategy of making himself as the most foolish person in the play. With this play he is ready to confront, know, and dismantle the face and faciality and finally to find a line of flight.
Hwang, as the representative second-Asian American playwright, has concentrated on making invisible minor Asian Americans visible on the public space. But the third-generation leading Korean American woman playwright, Julia Cho is more concerned with dealing with invisible Fwinkie’s experiences of loss and isolation and their resistance against being assimilated into the mainstream of American society. And Julia Cho is more concerned with abjection of Asian woman’s body, while Hwang exploits Asian woman’s body as Asian cultural marks in subverting racial identity, because Hwang’s main concern is racial identity politics. Julia Cho uses the strategy of abjection for the spectator’s paradoxical recognition of Asian American woman’s face and body on which the word of “ugly” is inscribed by white Americans and its relation to national abjection. This paper attempts to draw a changing topographic map by reading three plays of the representative second-generation and third-generation Asian American playwrights in terms of searching for Asian Americans’ new faces.
Hwang, as the representative second-Asian American playwright, has concentrated on making invisible minor Asian Americans visible on the public space. But the third-generation leading Korean American woman playwright, Julia Cho is more concerned with dealing with invisible Fwinkie’s experiences of loss and isolation and their resistance against being assimilated into the mainstream of American society. And Julia Cho is more concerned with abjection of Asian woman’s body, while Hwang exploits Asian woman’s body as Asian cultural marks in subverting racial identity, because Hwang’s main concern is racial identity politics. Julia Cho uses the strategy of abjection for the spectator’s paradoxical recognition of Asian American woman’s face and body on which the word of “ugly” is inscribed by white Americans and its relation to national abjection. This paper attempts to draw a changing topographic map by reading three plays of the representative second-generation and third-generation Asian American playwrights in terms of searching for Asian Americans’ new faces.
목차
I. 아시아계 미국연극과 아시아계 미국인의 얼굴
II. 아시아계 미국인 정체성 재현: 가시성과 비가시성의 정치성
III.『페이스 밸류』와 얼굴과 얼굴성 발견
IV.『옐로 페이스』와 소수로서의 얼굴 찾기
V. 아시아계 미국인의 인종적 우울증과 소수-되기
VI.『변두리』의 아시아계 여성의 “추한” 몸
VII. 나가며
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Abstract
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