| Summary: | 碩士 === 靜宜大學 === 英國語文學系研究所 === 92 === Maxine Hong Kingston interrogates and re-inscribes ethnicity with the collaboration of parodic postmodern representation and re-imagines a pan-ethnic community in Tripmaster Monkey: His Fake Book. The thesis begins with a historical reappraisal of the sixties in the United States, related to the awakening of the ethnic groups that subvert the dominant discourses by demystifying hegemonically defined relations to majority society and culture. Another major concern of the introduction chapter is how the discursive construction of representation plays an important role in the formation of ethnicity. Chapter Two lays a theoretical groundwork for the subsequent chapters, including Stuart Hall’s notion of “new ethnicities,” Patricia Durso’s act of performing identity, and Linda Hutcheon’s concept of parodic postmodern representation—all of these have been employed to examine the text. Chapter Three applies Hall’s and Durso’s ideas to propose that authority-interrogating re-inscriptions offer the always-in-the-process ethnicity to break down any possibility of stable binary opposition. In Chapter Four, Hutcheon’s view is appropriated to show a dialogical relationship among texts that Kingston reveals her artistic imagination and ambition of proclaiming the collaborative and changing nature of American art as well as de-naturalizing the essentialist notion of an American. To conclude, by using Wittman Ah Sing to perform his life scripts, parody films and literatures, and stage an epic theater, Kingston not only establishes a new prototype that embraces diversities but also advocates anti-war and peace loving messages.
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