다문화주의의 허와 실--아시아계 미국 드라마에 나타난 양상을 중심으로
Bond or Bondage?: Multiculturalism(s) in the Asian American Drama
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Abstract
This paper studies how the current debate on multiculturalism is reflected in the Asian American drama. Ethnic theatre, in which actor's live body foregrounds the racial identity that is primarily defined by physical difference, has been the most instant and vivid laboratory experimenting multiculturalism, the America's no. 1 hypothesis/ideal. Since the 1970s Asian American drama has attempted to re-vision idealistic assumptions of American Melting Pot, taking various forms of multiculturalism. Radical or "strong" multiculturalism of the ethno-centric, self-assertive, and politically-correct 1st generation (represented by Frank Chin) claims for more affirmative separatist ethnic identity, emphasizing the "difference" and ethnic pride. Playwrights in the 1980s, such as David Henry Hwang and Philip Kan Gotanda, took more incorporate attitude toward the issue of difference and identity, envisioning dual transformations from both dominant and insurgent groups. Young writers in the 1990s, on the other hand, try to get beyond the "bondage" of multiculturalism itself, preferring fluidity of free signifiers of "multiculturality" and "plurality." At the end, drawing upon Goldberg's concept of "multircultural relativism," Rorty's "1st-order narrative," and Bhabha's "the Third Space," I suggest new directions of multiculturalism urgently needed in the changing cultural climate after the 9/11.
참고문헌 (21)
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