Publisher:
University of Iowa, Iowa City
;
EBSCO Industries, Inc., Birmingham, AL, USA
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....
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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.
Master and use copy. Digital master created according to Benchmark for Faithful Digital Reproductions of Monographs and Serials, Version 1. Digital Library Federation, December 2002
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
