David Henry Hwang (1957- ) is a Chinese American playwright who uses political satirical set up to portray racial identity. Hwang’s parents are both Chinese-born; they immigrated to the United States before they met there and got married. In spite of the fact that Hwang – in a number of interviews – describes his Chinese American childhood as free of any racial issues, he is known in his works for his inquiry into identity and the concept of belonging. Hwang reveals his awareness of racial stereotypes in relation to the common perception of Asians and Asian Americans, and he admits experiencing racism when he first went to New York City. His plays usually centre on complex characters and depict their experiences with racism, imperialism, discrimination or generational differences, FOB (1980) and Yellow Face (2007) are outstanding examples. Asian characters that have been presented in theatre in Europe since the nineteenth century were played by white actors, like in The Queen of China Town (1899) by Joseph Jarrow and Madame Butterfly (1900) by David Belasco. As a result Asian American playwrights wrote a number of plays depicting discriminatory casting of characters, like David Hwang’s Yellow Face, premiered in Los Angeles in May, 2007, and Lloyd Suh’s Charles Francis Chan Jr.’s Exotic Oriental Murder Mystery (2015).
Distribution of Fingerprint Pattern Arch in Right Index Finger of Natives (Inhabitants) of Three Geographically Different Regions of India (Published)
Since the advent of fingerprint science, researchers have been linking distribution of pattern types with human races. However, it was only after 1892, when Dr. Galton published his book – Finger Prints, where he categorised digital ridgeglyphics into Arch, Loop and Whorl, the fingerprint pattern classification came into prominence. In one of his studies, he calculated percentage frequency of arches in the Right Fore-finger of 2082 individuals belonging to four different races. In such studies of the past, and contemporary epochs, scientists have envisioned to segregate human races, or population groups on the basis of distribution of pattern types in the top phalanges of their fingers. The objective of this paper was to examine whether there existed any relationship between prevalence of rare pattern arch in Right Index finger, with nativeness / habitancy of Indians from three geographically different regions. The ten-digit fingerprint slips of 200 Indians from Himalayan Hill States, Plain (Flat) Lands, and Costal Regions, covering 18 States/Union Territories, were incorporated for the research. Unlike other fingerprint pattern types, emphasis was on pattern arch, which is rare, thus was included as a unique tag or marker for categorization of individuals for this ethnographic analysis. The study has once again proved that fingerprints are unique, and revealed no uniformity or commonality in occurrence of arches in the natives or inhabitants of a particular State/Union Territory (province) or the whole region.
Symbolism and Race in Amiri Baraka’s Dutchman (Published)
Theatre is one of the means by which different cultures both proclaim and question themselves.It is constantly connected with the broad forces of insurrection and rituals in different societies. Starting from the beginning of the previous century theatre has developed as a practice with which to rethink gender, violence, ethnicity, identity and arts. Racial thinking and modern stage interact to reset an understanding of race and turn individual experiences into art. Amiri Baraka’s Dutchman (1964) is the study of a culture of white supremacy that has historically marginalized all other races, presenting some possible consequences. In an attempt to combat the deep rooted problem of racial discrimination in the American society, Baraka tries to examine and analyze the psyche behind it.
Gender, Class, And Identity in Alice Walker’s The Color Purple and Suzan-Lori Parks’ In the Blood (Published)
The genesis of suffering of Afro-American women has multilayered factors, i.e., race, class, gender, etc. But the struggle of these women is still underrepresented. The present paper looks at the representation of Afro-American women in the fictions of two Afro-American women writers – Alice Walker and Suzan-Lori Parks – to investigate the gender, class, and race dynamics in their works. Their selected works were analyzed from a comparative perspective with a view to highlight the plight of Afro-American women, and to look for possible convergence in the emancipated portrayal of their juxtaposed characters. The thematic stress and characterization of the protagonists in the selected works suggests that oppression of black women can be challenged only if they realize their own strength, in the bonds of sisterhood, for instance, or in the refusal to submission to oppressive conditions. Superficially, the writers have come up with juxtaposed images of black women – Alice Walker’s Celie victimized because of her poverty, race and gender, while Suzan-Lori Parks’ Hester allowing herself to be exploited by men, resorting to filicide in the end. But, at a deeper level both the writers chide black woman for their lack of strength to put a bold face against their oppressors.
The Practical and Theoretical Underpinning of Inclusion for College Students amidst Diverse Intersectionality (Published)
American higher education is facing another major transition with escalating costs, an influx of diverse students, and an over all question about the return on investment for higher education. Within these complexities, this essay will consider the practical history and theoretical underpinning which inform the experience for students with complex intersectionality. After reflecting on the higher education legal issues and Duboisian theory, the essay will provide recommendations for students and higher education personnel