Double Agency: Acts of Impersonation in Asian American Literature and CultureStanford University Press, 2005 - 245 pagina's In Double Agency, Tina Chen proposes impersonation as a paradigm for teasing out the performative dimensions of Asian American literature and culture. Asian American acts of impersonation, she argues, foreground the limits of subjectivity even as they insist on the undeniable importance of subjecthood. By decoupling imposture from impersonation, Chen shows how Asian American performances have often been misinterpreted, read as acts of betrayal rather than multiple allegiance. A central paradox informing the book—impersonation as a performance of divided allegiance that simultaneously pays homage to and challenges authenticity and authority—thus becomes a site for reconsidering the implications of Asian Americans as double agents. In exploring the possibilities that impersonation affords for refusing the binary logics of loyalty/disloyalty, real/fake, and Asian/American, Double Agency attends to the possibilities of reading such acts as "im-personations"—dynamic performances, and a performance dynamics—through which Asian Americans constitute themselves as speaking and acting subjects. |
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Pagina 33
... role he undertakes— " I am not an Asian American activist ; I just play one on TV " ( 63 ) -belies the complicated nature of the impersonation that he enacts while on that program . Although Liu begins by seeing the role of Asian ...
... role he undertakes— " I am not an Asian American activist ; I just play one on TV " ( 63 ) -belies the complicated nature of the impersonation that he enacts while on that program . Although Liu begins by seeing the role of Asian ...
Pagina 73
... role — and of having two characters perform , with different inflections , the same role.11 Hwang's decision to begin the play with his protagonist— already branded as a spy and a fool - in prison foregrounds Gallimard's re- production ...
... role — and of having two characters perform , with different inflections , the same role.11 Hwang's decision to begin the play with his protagonist— already branded as a spy and a fool - in prison foregrounds Gallimard's re- production ...
Pagina 74
... role reversal between Gallimard and Song . 13 This combination of role reversal and double casting calls attention to the process of representation . 14 As the audience , we become aware of how the actor never completely conflates with ...
... role reversal between Gallimard and Song . 13 This combination of role reversal and double casting calls attention to the process of representation . 14 As the audience , we become aware of how the actor never completely conflates with ...
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Double Agency: Acts of Impersonation in Asian American Literature and Culture Gedeeltelijke weergave - 2005 |
Veelvoorkomende woorden en zinsdelen
acts of impersonation agent Akiko Anna May Wong argues articulates Asian American identity Asian American literature authenticity Beccah becomes body Butterfly chapter character Chin Chin's Chinese American claim comfort woman constructed context conventions critical critique cultural daughter despite Detective Fiction discourse distinctions Double Agency embodied emphasis enacting ethnic experience Fah Lo Suee figure foregrounds Frank Chin Fu Manchu genre Henry Henry's Hwang iden identifies immigrants imposture Induk invisibility Japanese American Keller Korean American Korean shamanism linguistic mask mother Mulberry and Peach Mulberry's multiple narrative Native Speaker nature Nieh's novel performance Picture Bride play politics of impersonation pose possession possibilities practice problematic protagonist race racial reading relationship rendered representation resistance rituals Rohmer's role Sax Rohmer sexual Significantly sinbyong Sinocentric social spirits spy story stage stereotype stereotype's strategy suggests theatrical tion understanding Vincent women Wong writes Yellow Peril yellowface York
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