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  Volume 36, Number 4, Winter 2011

Table of Contents

Special Issue: Asian American Performance Art

Articles

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
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Interviews

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
|

Reviews

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

pp. 183-186
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Partly Colored: Asian Americans and Racial Anomaly in the Segregated South (review)

pp. 187-189
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Contesting Genres in Contemporary Asian American Literature (review)

pp. 190-192
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Contributors

pp. 193-195
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Editor's Acknowledgments, MELUS Vol. 36 (2011)

pp. 196-202
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Research Areas

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