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논문 기본 정보
- 자료유형
- 학술저널
- 저자정보
- 발행연도
- 2004.4
- 수록면
- 177 - 200 (24page)
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Diaspora was once a term that referred primarily to the Jewish, Greek, and Armenian dispersions, but today, it is often used to describe any population which is considered deterritorialised or transnational. In recent postcolonial theory, scholars on diaspora have begun to pay more attention to other, non-European models. This essay is a literary assessment of Genny Lim's two plays as examples of diaspora literature that represent Chinese experiences of displacement, identity conflict, and the condition of being in between cultures.
Genny Lim's two plays, Paper Angels (1978) and Bitter Cane (1989), focus on the experience of early Chinese sojourners in the United States of America. In Paper Angels, Lim portrays the Chinese people detained on Angel Island near San Francisco Bay as victims of the Chinese Exclusion Act of 1882, and, in Bitter Cane, she focuses on the oppressive labor contract and sexual repression of Chinese workers in a Hawaiian sugar plantation. In Genny Lim's two plays, the island, as a cultural marker of the diasporic condition, represents isolation, sojourning, in-betweenness, passing, and longing for the mainland. In order to make their suffering more tolerable, the diaspora consciousness tends to hold out to a myth of utopia. In the diasporic imagination, America is represented as the place of an energetic land of opportunity where anyone can make his or her dream come true. At the same time, the diaspora consciousness is longing to return to their native land, and thus, hold a strong commitment to their homeland. In Lim's plays, the female characters are not submissive paper dolls and the Asian characters are not asexual; rather they are active explorers of their human desire and sexuality. Lim explores masculine sensibility, desire, sense of exile and loss as much as the sexual oppression of Asian women. Together with these characteristics of diasporic consciousness reflected in the narrative, the linguistic hybridity as her discursive strategy, permeates in the most of literary texts of Genny Lim.
Genny Lim is actively creating this "discourse of minorities," "a liminal signifying space" in American literature that is not necessarily `Asian American.'Just like Lim's creation of her own liminal signifying space in Asian American literature, labeling her writing as diaspora literature can also be a political gesture of critical intervention.
Genny Lim's two plays, Paper Angels (1978) and Bitter Cane (1989), focus on the experience of early Chinese sojourners in the United States of America. In Paper Angels, Lim portrays the Chinese people detained on Angel Island near San Francisco Bay as victims of the Chinese Exclusion Act of 1882, and, in Bitter Cane, she focuses on the oppressive labor contract and sexual repression of Chinese workers in a Hawaiian sugar plantation. In Genny Lim's two plays, the island, as a cultural marker of the diasporic condition, represents isolation, sojourning, in-betweenness, passing, and longing for the mainland. In order to make their suffering more tolerable, the diaspora consciousness tends to hold out to a myth of utopia. In the diasporic imagination, America is represented as the place of an energetic land of opportunity where anyone can make his or her dream come true. At the same time, the diaspora consciousness is longing to return to their native land, and thus, hold a strong commitment to their homeland. In Lim's plays, the female characters are not submissive paper dolls and the Asian characters are not asexual; rather they are active explorers of their human desire and sexuality. Lim explores masculine sensibility, desire, sense of exile and loss as much as the sexual oppression of Asian women. Together with these characteristics of diasporic consciousness reflected in the narrative, the linguistic hybridity as her discursive strategy, permeates in the most of literary texts of Genny Lim.
Genny Lim is actively creating this "discourse of minorities," "a liminal signifying space" in American literature that is not necessarily `Asian American.'Just like Lim's creation of her own liminal signifying space in Asian American literature, labeling her writing as diaspora literature can also be a political gesture of critical intervention.
목차
Ⅰ. Introduction
Ⅱ. The Island as a Cultural Symbol of Diaspora
Ⅲ. Gold Mountain, a Dream to Hold On To
Ⅳ. Myth of Return and the Memory of the Homeland
Ⅴ. Gendered Identity and Sexuality
Ⅵ. The Diasporic Consciousness Reflected in Language
Ⅶ. Conclusion
Works Cited
Abstract
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