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標題: Run through the Jungle:Uncanny Domesticity and theWoman of Shame in Jessica Hagedorn’sDream Jungle
作者: Chen, Shu-ching
關鍵字: 詭異;uncanny;家帝國;叢林;建國;親密;羞恥;domesticity;jungle;nation-building;intimacy;shame
Project: Tamkang Review, volume43, Issue1, Page(s) 3-26.
This paper investigates the uncanniness of the decolonizing projects conducted
by the local and global agents in Jessica Hagedorn’s Dream Jungle to
accentuate the spectral afterlife of imperialism that haunts the Asia-Pacific in
the age of globalization. Linking the uncanniness of the jungle with the formation
of the subjugated and subjectivized body of the Filipina, the paper
argues that the uncanny projects of nation-building and failed attempts of
decolonization mark the beginning of the impoverishment of the Philippines
in the restructuring of global capitalism in the 1980s. The outcome of the
impoverishment is especially acute for Filipinas, for they are the group that
bears the brunt of the economic change in the Philippines. My reading of the
text consists of two parts. In the first part I draw upon Amy Kaplan’s
conceptualization of “manifest domesticity” and the Freudian concept of the
uncanny to examine the Filipino male characters’ nation-building and domestic
managements, as well as the neocolonial tendency that belies America’s self-reflection on its overseas expansion in the Asia-Pacific, which I call
“uncanny domesticity.” In the second part I trace the lower class female
character Rizalina’s life story to analyze the way in which she is biopolitically
produced to serve as a provider of sexual and affective labor. I explore the
outcome of the process in which her sex and affect are commodified to conceptualize
her as a subject of shame and suggest that, despite its excruciating
effect, shame has the positive force of motivating the subject to run away from
the intimate governance of uncanny domesticity. In this sense, running away
destabilizes the power structures at home, while drawing a unique trajectory
of global mobility.

Kaplan)所謂的「天命家帝國」(manifest domesticity), 13 以及佛洛伊德的「詭異」
國」(uncanny domesticity)。第二部分轉向小說中下層女性角色莉娜(Rizalina)故
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