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초록· 키워드
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Henry Grimm's The Chinese Must Go, written in 1877, can be understood as an important documentation for the Anti-Chinese sentiment that broke out in California in the 1870s. The facts that this play appeared to the public in the peak of Anti-Chinese sentiment, that its title was borrowed from the slogan of the Workingmen's Party of California, a white racist union, and that it was intended to be performed at the meetings of 'anti-coolie clubs' manifest that the birth of this play was never an overnight happening. Moreover, this play suggests a necessity to approach the meaning of the Anti-Chinese sentiment with a multilateral perspective in term of economic, political and cultural angles, considering that such a sentiment originally aroused from the conflict within the people of the same class and then was triggered and eventually concreted by the politicians' strategy of 'othering'the Chinese culturally in order to maintain their own political power.
In this respect, The Chinese Must Go reflects the anti-Chinese sentiment of the time in terms of the whites' cultural as well as their economic and political dominance over a non-white minority group. In this play, the Chinese immigrants are stereotyped as the social illness threatening the American economy and the Chinese culture itself is eventually classified as 'other.'In addition, this play even delivers the white male's perspective or attitude toward the Chinese culture. In other words, this play reflects a particular form of dominance in which a ruling class defines its position and legitimates its dominance over the minority or cultural 'other' as reasonable, fair, and in the best interest of society as a whole.
Related with this point of view, this paper examines how the anti-Chinese sentiment, originally aroused for the economical reason, developed into a discourse of cultural hegemony and how the positive reputation of the Chinese could be branded as social illness or 'others' in terms of economic and political aspects. Ultimately, this paper aims at examining how the identity of the Chinese as others could be justified through the dramatization of the Chinese stereotypes in this play.
In short, Henry Grimm's The Chinese Must Go is the miniature of the historical context surrounding the Anti-Chinese sentiment in the 1870s. In addition, this play has a significant value for research in examining the meaning of the Anti-Chinese sentiment in terms of cultural hegemony in light that it epitomizes the white-centered cultural dominance over an Asian minority group. Finally, The Chinese Must Go even cuts an eminent figure in the theatre study, gauging the possibility that a play text can function not only as a literary text for criticism but also as a tool for the understanding of a social phenonenon.
In this respect, The Chinese Must Go reflects the anti-Chinese sentiment of the time in terms of the whites' cultural as well as their economic and political dominance over a non-white minority group. In this play, the Chinese immigrants are stereotyped as the social illness threatening the American economy and the Chinese culture itself is eventually classified as 'other.'In addition, this play even delivers the white male's perspective or attitude toward the Chinese culture. In other words, this play reflects a particular form of dominance in which a ruling class defines its position and legitimates its dominance over the minority or cultural 'other' as reasonable, fair, and in the best interest of society as a whole.
Related with this point of view, this paper examines how the anti-Chinese sentiment, originally aroused for the economical reason, developed into a discourse of cultural hegemony and how the positive reputation of the Chinese could be branded as social illness or 'others' in terms of economic and political aspects. Ultimately, this paper aims at examining how the identity of the Chinese as others could be justified through the dramatization of the Chinese stereotypes in this play.
In short, Henry Grimm's The Chinese Must Go is the miniature of the historical context surrounding the Anti-Chinese sentiment in the 1870s. In addition, this play has a significant value for research in examining the meaning of the Anti-Chinese sentiment in terms of cultural hegemony in light that it epitomizes the white-centered cultural dominance over an Asian minority group. Finally, The Chinese Must Go even cuts an eminent figure in the theatre study, gauging the possibility that a play text can function not only as a literary text for criticism but also as a tool for the understanding of a social phenonenon.
목차
Ⅰ. 서론
Ⅱ. ‘반 중국인 감정‘의 지형학
Ⅲ. 주변인으로서의 중국인
Ⅳ. 경제적, 정치적 ‘타자‘로서의 중국인
Ⅴ. 문화적 ‘타자‘로서의 중국인
Ⅵ. 결론
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