Abstract

This essay examines the racial ideology exemplified in Ah Sin as it played out in multiple venues, particularly the Gilded Age economy and the conventions of yellowface performance. Highlighting the ambivalence of the Chinese title character, the play marks an emphatic step toward disrupting what Homi Bhabha defines as the “fixity” of racialized stereotypes.

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Additional Information

ISSN
1925-5683
Print ISSN
0027-1276
Pages
pp. 145-161
Launched on MUSE
2013-12-12
Open Access
No
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