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Imagining Asian Americans: From mono-ethnic to transnational community identity in Asian American literature and film.

机译：想像亚裔美国人：从亚裔美国人文学和电影中的单族裔到跨国社区认同。

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摘要

The relaxation of immigration restrictions, along with faster and cheaper transportation of people and goods, resulted in a dramatic expansion of the Asian American population and Asian American communities post-1965. As more Asian Americans participate and become visible in American culture, ethnic identifications and configurations of Asian American communities become more diverse and fluid. Asian American communal affiliations are not simply formed around regional marginalizations as the first Chinatowns were, but are also formed along commonalities of age, religion, class, gender, sexuality, professional identities, and political ideologies. While noting the importance of historically and geographically mapping Asian American communities to trace experiences of immigration and acculturation of Asians in America, I argue that the cultural constructions of such communities are determined and shaped by how Asian American literary narratives imagine them.;In Yokohama, California, I look at a literary representation of a mono-ethnic community. Toshio Mori recovers and fictionalizes a pre-WWII Japanese American community. His stories depict how the ethnic insularity of that community is complex, sheltering and stifling the independent creative and philosophical minds of artists and writers. Maxine Hong Kingston's Tripmaster Monkey is set in San Francisco in the 1960s--1970s, an era of ethnic awakening and assertion of an Asian American solidarity. The protagonist's vision of a pan-ethnic, politically coalesced Asian American community identity is performed and enacted in his life and in theater. Abraham Verghese's memoir My Own Country depicts a diasporic immigrant Asian American who in his everyday world negotiates identifications with multiple communities: immigrant Indian Americans, gay men, AIDS patients, medical professionals, and the rural whites in Tennessee. Finally, Jessica Hagedorn's novel Dogeaters and John Woo's film "Bullet In The Head" make Asian American community transnational, constructing Asian American cultural communities outside of the U.S. Both texts exemplify how postcolonial global world migrations and American military presence in Asia change binaristic constructions of first world/third world cultural paradigms. Hence, while America has exercised an imperial, colonizing influence on Asia, in the late twentieth century we are also seeing how Asia is appropriating, consuming, and re-imagining American culture and a mythic 'America'.
机译：放宽移民限制，以及更快，更便宜的人员和货物运输，导致1965年后亚裔美国人人口和亚裔美国人社区急剧增加。随着越来越多的亚裔美国人参与进来并在美国文化中崭露头角，亚裔美国人社区的族裔认同和配置变得更加多样化和灵活。亚裔美国人的公会不仅是像唐人街那样首先围绕区域边缘化而形成的，而且还根据年龄，宗教，阶级，性别，性别，职业，政治意识形态的共性而形成。在注意到历史上和地理上绘制亚裔美国人社区以追踪美国亚裔的移民和文化习俗的重要性的同时，我认为，这些社区的文化结构是由亚裔美国人文学叙事如何想象和塑造的；在横滨，在加利福尼亚，我看一个单一种族社区的文学作品。森俊雄（Toshio Mori）恢复并虚构了第二次世界大战前的日裔美国人社区。他的故事描绘了该社区的种族隔ular如何复杂，掩盖和扼杀了艺术家和作家的独立创造力和哲学思想。 Maxine Hong Kingston的Tripmaster Monkey是1960年代至1970年代的旧金山，那是一个种族觉醒和主张亚裔美国人团结的时代。主角对泛族裔，政治上凝聚了亚裔美国人社区认同的愿景在他的生活和戏剧中得以体现。亚伯拉罕·韦尔盖塞（Abraham Verghese）的回忆录《我的祖国》描绘了一个流离失所的移民亚裔美国人，他在日常生活中与多个社区进行身份协商：移民印第安人，同性恋者，艾滋病患者，医疗专业人员以及田纳西州的农村白人。最后，杰西卡·哈格多恩（Jessica Hagedorn）的小说《吞噬者》（Doateaters）和约翰·伍（John Woo）的电影《头上的子弹》使亚裔社区跨国化，在美国以外建立了亚裔文化社区。这两个文本都例证了后殖民全球世界移民和美国在亚洲的军事存在如何改变了第一批人的二元​​结构。世界/第三世界文化范式。因此，尽管美国对亚洲施加了帝国的，殖民的影响力，但在二十世纪末期，我们还看到了亚洲如何挪用，消费并重新构想美国文化和神话般的“美国”。

著录项

  • 作者

    Chow, Karen Har-Yen.;

  • 作者单位

    University of California, Santa Barbara.;

  • 授予单位 University of California, Santa Barbara.;
  • 学科 Literature American.;Cinema.;Sociology Ethnic and Racial Studies.
  • 学位 Ph.D.
  • 年度 1998
  • 页码 245 p.
  • 总页数 245
  • 原文格式 PDF
  • 正文语种 eng
  • 中图分类
  • 关键词

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