Dispute in the Diaspora: Metaphor and Contradiction in Twenty-First-Century Arab American Family Dramas

IF 0.4 2区 艺术学 0 THEATER
MODERN DRAMA Pub Date : 2023-12-01 DOI:10.3138/md-66-4-1263
Hala Baki
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引用次数: 0

Abstract

Betty Shamieh’s Roar (2005) and Yussef El Guindi’s Ten Acrobats in an Amazing Leap of Faith (2009) exemplify early twenty-first-century Arab American family dramas that grapple with the intersecting dilemmas of Arab diasporic experience in the United States. Reading the family as a metaphor for the Arab diaspora, I argue that these plays serve as sites of contradiction and negotiation, exploring intra-communal conflicts that stem from differing relationships to homeland, host nation, and community. In this article, I contextualize Shamieh’s and El Guindi’s plays within the long history of Arab Americans navigating US racial frameworks, immigrant sentiment, and systemic bias. I further propose that these family dramas can be read as allegories of a diasporic public, Arab American or otherwise, that imagine ways of responding to the challenges of acculturation and survival in the diaspora.
散居地的争端:二十一世纪美国阿拉伯家庭剧中的隐喻与矛盾
Betty Shamieh 的《咆哮》(2005 年)和 Yussef El Guindi 的《十个杂技演员的惊人信仰飞跃》(2009 年)是 21 世纪早期阿拉伯裔美国人家庭剧的典范,这些家庭剧努力应对散居美国的阿拉伯人经历中相互交织的困境。我将家庭视为阿拉伯移民社群的隐喻,认为这些戏剧是矛盾和协商的场所,探讨了源于与祖国、东道国和社区的不同关系的族群内部矛盾。在本文中,我将 Shamieh 和 El Guindi 的戏剧置于阿拉伯裔美国人在美国种族框架、移民情绪和系统性偏见中游走的悠久历史之中。我进一步提出,这些家庭剧可以被解读为散居地阿拉伯裔美国人或其他散居地公众的寓言,想象出应对散居地文化适应和生存挑战的方式。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
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来源期刊
MODERN DRAMA
MODERN DRAMA THEATER-
CiteScore
0.20
自引率
33.30%
发文量
42
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