全球視野下的亞裔美國文學(xué)

內(nèi)容概要

　　《全球視野下的亞裔美國文學(xué)》從文化研究（特別是后殖民理論）的角度，深入到一些文學(xué)作品的潛文體層面，分析了種族主義與內(nèi)部殖民主義給亞裔美國人帶來的深度精神創(chuàng)傷，同時也挖掘了作品中所隱含的少數(shù)族裔對主流文化霸權(quán)的一系列抵抗策略。作者通過研究認(rèn)為：美國少數(shù)族裔在當(dāng)今提倡多元文化的時代面對的已經(jīng)不再是公開的各族主義，但他們?nèi)匀粺o法逃避以各種面目出現(xiàn)的新殖民主義的影響。這種影響在很多時候是無形的，令人難以識別，因此對人的心理和精神影響會更深，也更難愈合。

書籍目錄

TheEast,theWest,andtheGlobalinAsian American Literature．Race，Gender,and Hollywood’S Asians,1984-2004Reading Chinese American Literature as“Introspection Literature”Manzanar and Nomonhan：The Relocation of Japanese／American War Memory in Tropic of Orange and The Wind-Up Bird ChronicleThe Gendered Representation of Memory through FetalImagery：AGestureLifeandComfort WomanReconstituting Memory：The Post-Colonial Travel Narrative in Eye ofthe Fish．Re-WritingVietNamfromAbroadThe Myth of Home and Mobility in Shawn WongS HomebaseWall andWaveintheWritingofMei-mei BerssenbruggeFemale Narrative as a Strategy in KingstonS The Woman Warrior and TanS The Joy Luck ClubThe Global in Recent Asian North American NarrativesMelancholia and the RecOnstruction of Subjectivity in Fae Myenne NgS BoneThe Rhetoric of the Double Negative：Canadian Diasporic Chinese LiteraturesThe Poetry of Cathy SongChallenging Racism with Pan-Asianism：Learning Resistance through Failure in Frank ChinS “The Sons of Chan”Chinese American Manhood in Gus Lee’S T／gers TailWhy Is There Orientalism in Chinese American Literature7The Reconciling Art of a Trickster Artist：Reading Tripmaster Monkey in the Context of Asian American Gender PoliticsA Transnational Feminist Reading of Kyoko MoriS Polite LiesTranspacific：Malaysia,California，and Female Mobility in Sister SwingNotes on the Editors and Contributors

章節(jié)摘錄

　　were portrayed by white actors outfitted with prosthetic eyepiecesheld in place by spirit gum and rubber bands attached to the tops oftheir heads to pull up their eyes. Korean American actor Philip Ahn，son of Dosan Ahn Chang-Ho， began his career in 1936 as an "eyemodel."　　Producers， argued that they chose white actors for these rolesbecause there were no qualified actors of color. In fact they believedthat whites could play Asians better than Asians themselves.　　Lest anyone think that representations of Asians have beensteadily improving since 1919， we are reminded that almost acentury ago， Sessue Hayakawa was a matinee idol before he leftHollywood to form his own production company so that he couldmake films that did not demean Asians.　　Bruce Lee forced Hollywoods anxieties about Asianmasculinity to the surface. After struggling against Hollywoods.racist refusal to cast him in anything but a peripheral role supportinga white character of lesser talent， Bruce Lee left for Hong Kong tolaunch a career that catapulted him into international stardom inthe 1970s with films that centered on and showcased his skills andfeatured struggles against colonial domination and injustice. WhenWarner Brothers invited Lee to star in Enter the Dragon （1972），the studio moguls must have been uncomfortable with the notionof a Chinese star. Director Robert Clouse said， "The first thing wehave to do is kick the strut out of Bruce Lee" because the Westernaudience wOuld not like it.4 Enter the Dragon brings back the evilAsian villain with the iron claw for a hand， the harem of opium-addicted sexual slaves， and renders Lees character as an asexual"spiritual" being possessing mystical knowledge， in ，contrast tothe black and white men， who are seduced by the women. WhileLees character remains alone and aloof， the black and white menexperience interracial male bonding.

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