This sophisticated and comprehensive study is the first to situate Japanese American women's writing within theoretical contexts that provide a means of articulating the complex relationships between language and the body, gender and agency, nationalism and identity. Through an examination of post-World War II autobiographical writings, fiction, and poetry, Traise Yamamoto argues that these writers have employed the trope of masking--textually and psychologically--as a strategy to create an alternative discursive practice and to protect the self as subject. Yamamoto's range is broad, and her interdisciplinary approach yields richly textured, in-depth readings of a number of genres, including film and travel narrative. Looking at how the West has sexualized, infantilized, and feminized Japanese culture for over a century, she examines contemporary Japanese American women's struggle with this orientalist fantasy. Analyzing the various constraints and possibilities that these writers negotiate in order to articulate their differences, she shows how masking serves as a self-affirming discourse that dynamically interacts with mainstream culture's racial and sexual projections.
Hundreds of memoirs, novels, plays, and movies have been devoted to the American war in Vietnam. In spite of the great variety of mediums, political perspectives and the degrees of seriousness with which the war has been treated, Katherine Kinney argues that the vast majority of these works share a single story: that of Americans killing Americans in Vietnam. Friendly Fire, in this instance, refers not merely to a tragic error of war, it also refers to America's war with itself during the Vietnam years. Starting from this point, this book considers the concept of "friendly fire" from multiple vantage points, and portrays the Vietnam age as a crucible where America's cohesive image of itself is shattered--pitting soldiers against superiors, doves against hawks, feminism against patriarchy, racial fear against racial tolerance. Through the use of extensive evidence from the film and popular fiction of Vietnam (i.e. Kovic's Born on the Fourth of July, Didion's Democracy, O'Brien's Going After Cacciato, Rabe's Sticks and Bones and Streamers), Kinney draws a powerful picture of a nation politically, culturally, and socially divided, and a war that has been memorialized as a contested site of art, media, politics, and ideology.
This sophisticated and comprehensive study is the first to situate Japanese American women's writing within theoretical contexts that provide a means of articulating the complex relationships between language and the body, gender and agency, nationalism and identity. Through an examination of post-World War II autobiographical writings, fiction, and poetry, Traise Yamamoto argues that these writers have employed the trope of masking--textually and psychologically--as a strategy to create an alternative discursive practice and to protect the self as subject. Yamamoto's range is broad, and her interdisciplinary approach yields richly textured, in-depth readings of a number of genres, including film and travel narrative. Looking at how the West has sexualized, infantilized, and feminized Japanese culture for over a century, she examines contemporary Japanese American women's struggle with this orientalist fantasy. Analyzing the various constraints and possibilities that these writers negotiate in order to articulate their differences, she shows how masking serves as a self-affirming discourse that dynamically interacts with mainstream culture's racial and sexual projections.
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