Since the mid-eighteenth century, ”yellow face” in American representational apparatuses has been associated with Asian American's anxiety of racial castration due to socio-political oppression, the commodity under Orientalistic gaze, as well as the constituent ”outside” in consolidating white subjectivity. This paper will analyze David Henry Hwang's ”Bondage” and ”Yellow Face” to investigate the performativity of yellow face in and out of American representational apparatuses along the axes of multiple colonization and self-colonization. Toying with the paradox of yellow face as both yellow peril and model minority, Hwang makes palpable the sado-masochist role play of the colonizers and the colonized in ”Bondage”, or exposes the constructedness of ethnic authenticity and the phantasmatic ideal of Asian American identities in ”Yellow Face”. Appropriating racial stereotype, Hwang exposes how the Orientalistic gaze fixes and fetishizes the racial bodies in the intersection of nationalism, colonialism and capitalism. Through the characters' self-reflexive role play and masquerade, the performativity of yellow face in Hwang's plays disrupts Orientalistic gaze and exposes the contradiction from within Orientalisms.
|Original language||Chinese (Traditional)|
|Pages (from-to)||131 - 166|
|Number of pages||36|
|Journal||英美文學評論 (Review of English and American Literature=A Journal of English and American Literature)|
|State||Published - 2012|