restricted access   Volume 36, Number 4, Winter 2011

Table of Contents

Special Issue: Asian American Performance Art


Guest Editor's Introduction: Asian American Performances and a World of Differences

pp. 5-11

Eternal Return of the Saline Body: Michael Joo's Salt Transfer Cycle

pp. 13-33

Green Glass and Emeralds: Citation, Performance, and the Dynamics of Ethnic Parody in Thoroughly Modern Millie

pp. 35-60

The Transnational Vision of Miss Saigon: Performing the Orient in a Globalized World

pp. 61-86

H. T. Tsiang's Proletarian Burlesque: Performance and Perversion in The Hanging on Union Square

pp. 87-113

"A Race So Different": Staging Racial Exception in Ping Chong's Chinoiserie

pp. 115-139


Perspectives on Asian American Performance Art: Contexts, Memories, and the Making of Meaning on Stage. An Interview with Canyon Sam, Denise Uyehara, and Brenda Wong Aoki

pp. 141-158

Hip-Hop Memoirs: An Interview with Khmer American Rapper praCh

pp. 159-173


Yellow Future: Oriental Style in Hollywood Cinema (review)

pp. 174-176

Unfastened: Globality and Asian North American Narratives (review)

pp. 177-178

The Decolonized Eye: Filipino American Art and Performance (review)

pp. 180-182

Ghostlife of Third Cinema: Asian American Film and Video (review)

pp. 183-186

Partly Colored: Asian Americans and Racial Anomaly in the Segregated South (review)

pp. 187-189

Contesting Genres in Contemporary Asian American Literature (review)

pp. 190-192


pp. 193-195

Editor's Acknowledgments, MELUS Vol. 36 (2011)

pp. 196-202