"Not a Chinaman's Chance" - Expliziter und impliziter Kulturenkampf in David Hwangs "Family Devotions"

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GRIN Verlag, 2007 - 80 pages
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Studienarbeit aus dem Jahr 2002 im Fachbereich Amerikanistik - Literatur, Note: 1, Justus-Liebig-Universitat Giessen (Neuere englische und amerikanische Literaturwissenschaft), Veranstaltung: American Culture in the Theatre - Recent American Drama, 31 Quellen im Literaturverzeichnis, Sprache: Deutsch, Abstract: Betrachtet man Geschichte und gegenwartige Situation der ethnischen Minoritaten in den USA, zeigt sich eine fundamentale Problematik, die all diese Gruppen gemeinsam haben und die von Myrl Guy Jones in seinem Aufsatz "Rereading American Culture" als "doubleness of vision" bezeichnet wird. Gemeint ist die hybride Position der so genannten "hyphenated Americans," die sich aus der Determiniertheit durch Rasse und Ursprungsland einerseits und dem Einfluss des gegenwartigen kulturellen Milieus andererseits konstituiert. Um dieser Problematik zu begegnen, bleiben dem Immigranten scheinbar nur zwei Moglichkeiten: Aufrechterhaltung der eigenen Kultur im fremden Land oder Assimilation an die dortigen Sitten und Gebrauche. Die Gruppe der Asien-Americans nimmt innerhalb dieser Thematik eine Sonderstellung ein, da sie den Angehorigen anderer Immigrantengruppen in Amerika nicht nur zahlenmassig uberlegen sind, sondern sich im Laufe der Zeit den Status einer Model Minority zugelegt haben - einer Minderheit, die sich der amerikanischen Kultur in vorbildlichem Masse angepasst hat und dafur mit Akzeptanz belohnt wird. Impliziert nun aber der Begriff der Model Minority, dass alle Asiaten das Problem der "doubleness of vision" durch grosstmogliche Anpassung an die amerikanische Kultur gelost haben, uberrascht es dennoch nicht, dass durchaus nicht alle Asian-Americans den Weg der luckenlosen Assimilation gegangen sind. Einen wichtigen Beleg dafur liefert nicht zuletzt die Entwicklung einer eigenen Theatertradition seit 1970. Zu den bedeutendsten Vertretern dieses neuen Theaters zahlt der chinesisch-amerikanische Dramatiker David Hwang, dessen Stuck uber die Konflikte innerhalb einer"
 

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Page 6 - Don't make the mistake, through some irresponsible surge of Christian charity, of talking too much about the advantages of Western rationalism, or the great intellectual legacy of the white man, or maybe they'll begin to listen. And then, maybe one day, you'll find they actually do understand exactly what you're talking about, all these fantasy people. All these blues people. And on that day, as sure as shit, when you really believe you can "accept" them into your fold, as half-white trusties late...
Page 1 - Der Aberglaub', in dem wir aufgewachsen, Verliert, auch wenn wir ihn erkennen, darum Doch seine Macht nicht über uns. Es sind Nicht alle frei, die ihrer Ketten spotten.
Page 12 - American-born and raised, who got their China and Japan from the radio, off the silver screen, from television, out of comic books, from the pushers of white American culture that pictured the yellow man as something that when wounded, sad, or angry, or swearing, or wondering whined, shouted, or screamed "aiiieeeee!
Page 6 - And on that day, as sure as shit, when you really believe you can "accept" them into your fold, as half-white trusties late of the subject peoples. With no more blues, except the very old ones, and not a watermelon in sight, the great missionary heart will have triumphed, and all...
Page 8 - ... come from Christian family. AMA. He come from Japanese family. POPO. I mean to say, we — ah — very fortunate. Mama teach us all Christianity. Not like Wilbur family. AMA. When Di-gou arrive, we will remind him. What Mama tells us. POPO. Di-gou can remember himself. AMA. No. POPO. But we remember. AMA. You forget — Di-gou, he lives in China. POPO. So? AMA. Torture. Communists. Make him work in rice fields. POPO. I no longer think so. AMA. In rice field, all the people wear wires in their...
Page 5 - ... Communist — they will know this address. POPO. Never mind. AMA. No safety. Bomb us. HANNAH. Okay, he has this address, and he can speak English — after all, he went to medical school here, right? So he shouldn't have any problem. JOANNE. What an introduction to America. HANNAH. All we can do is wait ROBERT. We went up to all these old Chinese men at the airport, asked them, "Are you our Di-gou?
Page 28 - ... DI-GOU. Sisters? (Silence.) Sisters! (Jenny, Chester, Joanne, Hannah, and Di-gou stare at the two inert forms.) CHESTER. Jenny! Jenny! (Jenny goes to Chester's side.) JOANNE. Hannah? Hannah — come here. (Hannah does not move.) HANNAH. I see. JOANNE. No! Come here! HANNAH. I know, Joanne. I see. DI-GOU. Once again. Once again my pleas are useless. But now — this is the last time. I have given all I own. (Popo and Ama have died. Di-gou picks up his suitcase and the Chinese toys, heads for the...
Page 10 - Devotions [...] is a very angry indictment of the Christian fundamentalist mindset. The family in that play has been corrupted by Christianity and has lost its true beliefs.
Page 4 - Stück noch dadurch besonders betont, daß sie in Bel Air, „the most elite, most pretentious, and most Caucasian of California communities" (Street: 23), angesiedelt ist.

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