Mae M. Ngai takes an in-depth look at the recent changes in immigration history, another field that has benefited from the transnational turn, which has pushed scholarship beyond the traditional study of white Europeans and placed new emphasis on ethnicity, worldwide patterns of migration, diaspora, and hybridity.
This book traces the origins of the "illegal alien" in American law and society, explaining why and how illegal migration became the central problem in U.S. immigration policy—a process that profoundly shaped ideas and practices about citizenship, race, and state authority in the twentieth century. Mae Ngai offers a close reading of the legal regime of restriction that commenced in the 1920s—its statutory architecture, judicial genealogies, administrative enforcement, differential treatment of European and non-European migrants, and long-term effects. She shows that immigration restriction, particularly national-origin and numerical quotas, remapped America both by creating new categories of racial difference and by emphasizing as never before the nation's contiguous land borders and their patrol. Some images inside the book are unavailable due to digital copyright restrictions.
The Lucky Ones uncovers the story of the Tape family in post-gold rush, racially explosive San Francisco. Mae Ngai paints a fascinating picture of how the role of immigration broker allowed patriarch Jeu Dip (Joseph Tape) to both protest and profit from discrimination, and of the Tapes as the first of a new social type--middle-class Chinese Americans. Tape family history illuminates American history. Seven-year-old Mamie attempts to integrate California schools, resulting in the landmark 1885 case Tape v. Hurley. The family's intimate involvement in the 1904 St. Louis World's Fair reveals how Chinese American brokers essentially invented Chinatown, and so Chinese culture, for American audiences. Finally, The Lucky Ones reveals aspects--timely, haunting, and hopeful--of the lasting legacy of the immigrant experience for all Americans. This expanded edition features a new preface and a selection of historical documents from the Chinese exclusion era that forms the backdrop to the Tape family's story.
This book traces the origins of the "illegal alien" in American law and society, explaining why and how illegal migration became the central problem in U.S. immigration policy—a process that profoundly shaped ideas and practices about citizenship, race, and state authority in the twentieth century. Mae Ngai offers a close reading of the legal regime of restriction that commenced in the 1920s—its statutory architecture, judicial genealogies, administrative enforcement, differential treatment of European and non-European migrants, and long-term effects. She shows that immigration restriction, particularly national-origin and numerical quotas, remapped America both by creating new categories of racial difference and by emphasizing as never before the nation's contiguous land borders and their patrol. Some images inside the book are unavailable due to digital copyright restrictions.
Winner of the 2012 Outstanding Book Award in Cultural Studies, Association for Asian American Studies Puro Arte explores the emergence of Filipino American theater and performance from the early 20th century to the present. It stresses the Filipino performing body's location as it conjoins colonial histories of the Philippines with U.S. race relations and discourses of globalization. Puro arte, translated from Spanish into English, simply means “pure art.” In Filipino, puro arte however performs a much more ironic function, gesturing rather to the labor of over-acting, histrionics, playfulness, and purely over-the-top dramatics. In this book, puro arte functions as an episteme, a way of approaching the Filipino/a performing body at key moments in U.S.-Philippine imperial relations, from the 1904 St. Louis World’s Fair, early American plays about the Philippines, Filipino patrons in U.S. taxi dance halls to the phenomenon of Filipino/a actors in Miss Saigon. Using this varied archive, Puro Arte turns to performance as an object of study and as a way of understanding complex historical processes of racialization in relation to empire and colonialism.
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