Chinese-American literature that grew up at the end of 1960s and the beginning of 1970s not only increased in quantity but also broke through in theme and genre. From 1970s, Chinese-American literature has developed b...Chinese-American literature that grew up at the end of 1960s and the beginning of 1970s not only increased in quantity but also broke through in theme and genre. From 1970s, Chinese-American literature has developed by leaps and bounds and a group of outstanding and innovative writers also appeared who earned the respect of literary critics and enjoyed a large number of American readers--for example, Maxine Hong Kingston （1940-） and Amy Tan （1952-） as novelists and David Henry Hwang （1957-） as a playwright. The woman warrior in particular is regarded as the work that marks the rise of Chinese-American literature in modem American literary history. This paper intends to argue the investigation of individual identity of Maxine Hong Kingston as a Chinese-American woman and the deliberate misinterpretation of Chinese traditions in The woman warrior. In addition, to create the collective identity of Chinese-Americans, the author actually takes the way of traditional Chinese movies that she has inherited and uses the highlights which are most appreciated by the Westerners to cater to their interests and fantasies.展开更多
Appalachian inspired Pentecostal radio preaching maintains the Protestant legacy of that region first settled through the medium of radio. These sermons are characterized by high levels of affect in delivery, and serv...Appalachian inspired Pentecostal radio preaching maintains the Protestant legacy of that region first settled through the medium of radio. These sermons are characterized by high levels of affect in delivery, and serve to differentiate ＂preacher culture＂ from those denominations that abandoned their original heritage for admittance into middle class status. Thus, preacher culture is an act of both religious and class descent because they are ＂inspired＂ by the Holy Spirit （that is, not composed before delivery）. Gramscian notions of hegemony are used to interpret how ＂preacher culture＂ has maintained itself since the settlement by the northern British and the Scots to Appalachia. The genre of melodrama and ＂preacher culture＂ share significant parallels and content, dynamics of presentational styles, and because of these basic parallels, theories of melodrama offer analytical methods for analysis of the content of the inspired sermons and the way of life they elaborate. Gramscian notions of negotiation and consent are used to analyze the maintenance of ＂preacher culture＂, which maintains both tradition and cultural specificity that is characteristic of southern Appalachia.展开更多
文摘Chinese-American literature that grew up at the end of 1960s and the beginning of 1970s not only increased in quantity but also broke through in theme and genre. From 1970s, Chinese-American literature has developed by leaps and bounds and a group of outstanding and innovative writers also appeared who earned the respect of literary critics and enjoyed a large number of American readers--for example, Maxine Hong Kingston （1940-） and Amy Tan （1952-） as novelists and David Henry Hwang （1957-） as a playwright. The woman warrior in particular is regarded as the work that marks the rise of Chinese-American literature in modem American literary history. This paper intends to argue the investigation of individual identity of Maxine Hong Kingston as a Chinese-American woman and the deliberate misinterpretation of Chinese traditions in The woman warrior. In addition, to create the collective identity of Chinese-Americans, the author actually takes the way of traditional Chinese movies that she has inherited and uses the highlights which are most appreciated by the Westerners to cater to their interests and fantasies.
文摘Appalachian inspired Pentecostal radio preaching maintains the Protestant legacy of that region first settled through the medium of radio. These sermons are characterized by high levels of affect in delivery, and serve to differentiate ＂preacher culture＂ from those denominations that abandoned their original heritage for admittance into middle class status. Thus, preacher culture is an act of both religious and class descent because they are ＂inspired＂ by the Holy Spirit （that is, not composed before delivery）. Gramscian notions of hegemony are used to interpret how ＂preacher culture＂ has maintained itself since the settlement by the northern British and the Scots to Appalachia. The genre of melodrama and ＂preacher culture＂ share significant parallels and content, dynamics of presentational styles, and because of these basic parallels, theories of melodrama offer analytical methods for analysis of the content of the inspired sermons and the way of life they elaborate. Gramscian notions of negotiation and consent are used to analyze the maintenance of ＂preacher culture＂, which maintains both tradition and cultural specificity that is characteristic of southern Appalachia.
