附註: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.
摘要: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.
