@article{ART002461250},
author={MYUNG CHERIN},
title={Beyond Ethnic Identity: Intertextuality with Arthur Miller and Tennessee Williams in Julia Cho’s Durango},
journal={Journal of Modern English Drama},
issn={1226-3397},
year={2019},
volume={32},
number={1},
pages={235-256}
TY - JOUR
AU - MYUNG CHERIN
TI - Beyond Ethnic Identity: Intertextuality with Arthur Miller and Tennessee Williams in Julia Cho’s Durango
JO - Journal of Modern English Drama
PY - 2019
VL - 32
IS - 1
PB - 한국현대영미드라마학회
SP - 235
EP - 256
SN - 1226-3397
AB - Julia Cho, one of the most prominent and prolific Korean American playwrights in contemporary American theater, is also known for her particular affinity for Arthur Miller and Tennessee Williams—perhaps the two most renowned figures in modern American theater. When it comes to her 2006 play Durango, its apparent reminding of Miller’s Death of a Salesman (1949) has been mentioned in a handful of media, for the two plays have much in common in that they both deal with a laid-off father and his troubled relationship especially with his eldest son. Still, for those who are familiar with the plays of Williams, certain elements in Durango, such as the two generations of male family members experiencing potential bi-/homosexuality, will also bring Williams’ Cat on a Hot Tin Roof (1955) to their mind. Such an attempt to explore bridges between Cho’s work and the contemporary American canons is especially meaningful in terms of questioning the specific label of “Asian American” which invariably comes along when discussing Cho’s plays, with its danger of reducing the predicaments in her plays as those specific to Asian Americans only. Reading Durango first vis-à-vis Death of a Salesman and then Cat on a Hot Tin Roof, this paper aims to demonstrate that despite the major dramatic differences, approximately similar issues penetrate the families in the three plays alike, calling attention to the fact that the Lee family is not especially alone in their tragic conundrum as Korean Americans—a point often neglected in discussing works of non-white authors at large.
KW - Julia Cho;Arthur Miller;Tennessee Williams;intertextuality;ethnicity
DO -
UR -
ER -
MYUNG CHERIN. (2019). Beyond Ethnic Identity: Intertextuality with Arthur Miller and Tennessee Williams in Julia Cho’s Durango. Journal of Modern English Drama, 32(1), 235-256.
MYUNG CHERIN. 2019, "Beyond Ethnic Identity: Intertextuality with Arthur Miller and Tennessee Williams in Julia Cho’s Durango", Journal of Modern English Drama, vol.32, no.1 pp.235-256.
MYUNG CHERIN "Beyond Ethnic Identity: Intertextuality with Arthur Miller and Tennessee Williams in Julia Cho’s Durango" Journal of Modern English Drama 32.1 pp.235-256 (2019) : 235.
MYUNG CHERIN. Beyond Ethnic Identity: Intertextuality with Arthur Miller and Tennessee Williams in Julia Cho’s Durango. 2019; 32(1), 235-256.
MYUNG CHERIN. "Beyond Ethnic Identity: Intertextuality with Arthur Miller and Tennessee Williams in Julia Cho’s Durango" Journal of Modern English Drama 32, no.1 (2019) : 235-256.
MYUNG CHERIN. Beyond Ethnic Identity: Intertextuality with Arthur Miller and Tennessee Williams in Julia Cho’s Durango. Journal of Modern English Drama, 32(1), 235-256.
MYUNG CHERIN. Beyond Ethnic Identity: Intertextuality with Arthur Miller and Tennessee Williams in Julia Cho’s Durango. Journal of Modern English Drama. 2019; 32(1) 235-256.
MYUNG CHERIN. Beyond Ethnic Identity: Intertextuality with Arthur Miller and Tennessee Williams in Julia Cho’s Durango. 2019; 32(1), 235-256.
MYUNG CHERIN. "Beyond Ethnic Identity: Intertextuality with Arthur Miller and Tennessee Williams in Julia Cho’s Durango" Journal of Modern English Drama 32, no.1 (2019) : 235-256.
