지원사업
학술연구/단체지원/교육 등 연구자 활동을 지속하도록 DBpia가 지원하고 있어요.
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연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
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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.
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