HETEROGENEITY, HYBRIDITY, MULTIPLICITY: MARKING ASIAN AMERICAN DIFFERENCES Lisa Lowe.
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Transcript of HETEROGENEITY, HYBRIDITY, MULTIPLICITY: MARKING ASIAN AMERICAN DIFFERENCES Lisa Lowe.
![Page 1: HETEROGENEITY, HYBRIDITY, MULTIPLICITY: MARKING ASIAN AMERICAN DIFFERENCES Lisa Lowe.](https://reader036.fdocuments.us/reader036/viewer/2022082401/56649d8a5503460f94a70816/html5/thumbnails/1.jpg)
HETEROGENEITY, HYBRIDITY,
MULTIPLICITY: MARKING ASIAN AMERICAN
DIFFERENCES
Lisa Lowe
![Page 2: HETEROGENEITY, HYBRIDITY, MULTIPLICITY: MARKING ASIAN AMERICAN DIFFERENCES Lisa Lowe.](https://reader036.fdocuments.us/reader036/viewer/2022082401/56649d8a5503460f94a70816/html5/thumbnails/2.jpg)
INCLUDING CRITICAL RACE THEORY
banned books in Arizona
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Pre-reading
generally speaking, what do these words mean: heterogeneity hybridity multiplicity
what do they mean in the context of Asian American literature and culture?
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female inter-generational relations
poem by Janice Mirikitani relates inter-generational differences in experience and histories: three women conceptualize differently what it means to be female and Japanese
poem by Lydia Lowe invokes different subjectivities of Chinese American women of different generations in factory setting where facility in English disrupts generational hierarchy
both emphasize problems of diaspora: loss of culture of origin inter-generational misunderstanding westernization, etc.
diaspora: dispersion of large groups of people from their homeland
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inter-generational model of culture
essentialist: the view that categories of people, such as women and men, or heterosexuals and homosexuals, or members of ethnic groups, have intrinsically different and characteristic natures or dispositions (OED: Oxford English Dictionary)
Lowe argues that this ‘master narrative’ of Asian American culture is essentialist and homogenizing
it erases specific, varied experiences of national diversities, class and gender
she poses a different model of horizontal relationships such as friendships between Asian American women of the same generation
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Mulan
essentialism of Asian culture from an American (Hollywood) perspective
clip from Mickey Mouse Monopoly
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at one end at the other end
desire for a fixed, knowable ethnic identity that can bring people together
but not thisor this
concept of ethnic identity as fluid, intersectional, and internally contradictory
ethnic identities and practices are partly inherited, partly modified and partly invented
spectrum of approaches
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dominant Caucasian(majority) perspective
Asian American (minority) perspective
Asian Americans are constructed and perceived as different than Euro Americans e.g. “Too Asian” controversy
in Canadian magazine, MacLean’s, last year
e.g. stereotypes of Asians held by non-Asians
Asian Americans are widely diverse: from different countries (China,
Japan, Korea, Vietnam, etc.) born in US vs. born in Asia two Asian parents v mixed-race
parents urban v rural refugee or non-refugee fluent in English or not working class v university
educated men vs women vs trans people communist vs capitalist etc.
Asian Americanis a heterogeneous cultural entity
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on one hand on the other hand
understanding Asian Americans as heterogeneous groups allows us to interrupt or challenge the dominant ideology that paints Asian Americans as a homogeneous group and thereby perpetuates common stereotypes
it contributes to an Asian American dialogue engaged in political struggles for voice and equality, including practical campaigns and cultural theory that depend on an essential Asian American identity
heterogeneity
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Strategic Essentialism
“The concept of ‘strategic essentialism’ suggests that it is possible to utilize specific signifiers of ethnic identity, such as Asian American, for the purpose of disrupting the discourses that exclude Asian Americans, while simultaneously revealing the internal contradictions and slippages of Asian American so as to insure that such essentialisms will not be reproduced and proliferated by the very apparatuses we seek to disempower” (1045).
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next class: Thursday
“Tradition, Invention and Aesthetics in Native American Literature”
by Robert Dale Parker pp. 1051-1067