초록 열기/닫기 버튼
This paper discusses how the image or the value of the Orient is represented and reinterpreted through variations of two heroines, both named Mulan, by an Asian-American woman writer, Maxine Hong Kingston in The Woman Warrior and the Walt Disney’s feature film, Mulan. Unlike Asian women who have been stereotyped in popular culture as submissive and exotic lotus blossoms, both women rejected and challenged typical traditional roles of the Asian woman character. Mulan in WW had undergone self-training for fifteen years and learned how to control and survive by herself. Like Mulan, the narrator confronts and resists cultural conflicts and clashes of current Chinese-American in America by listening to old stories from her mother and rewriting them for her own purposes. Mulan in Disney bravely fights antagonism with her courage and wits. In this movie, digging up and appropriating the Asian woman warrior is significant, despite Americanized figurations. A discussion of the Orient needs more affective attention and critical argument, not just vague oriental exoticism.
키워드열기/닫기 버튼
Orient, Orientalism, Asian-American literature, Chinese-American woman, representation, ghost, variation
