![]() Excerpts from Songs of Gold Mountain by Marlon K. FIRST EDITIONĮxcerpt from America Is in the Heart by Carlos Bulosan, Copyright 1943, 1946 by Harcourt Brace Jovanovich, Inc., reprinted by permission of the pubHsher. NO PART OF THIS BOOK MAY BE REPRODUCED IN ANY FORM OR BY ANY ELECTRONIC OR MECHANICAL MEANS, INCLUDING INFORMATION STORAGE AND RETRIEVAL SYSTEMS, WITHOUT PERMISSION IN WRITING FROM THE PUBLISHER, EXCEPT BY A REVIEWER WHO MAY QUOTE BRIEF PASSAGES IN A REVIEW. "Strangers" at the gates again : post-1965 -ġ2. ![]() The watershed of World War II : democracy and race -ġ1. Dollar a day, dime a dance : the forgotten Filipinos. "The tide of turbans" : Asian Indians in America -ĩ. Struggling against colonialism : Koreans in America -Ĩ. Ethnic islands : the emergence of urban Chinese America -ħ. Ethnic solidarity : the settling of Japanese America -Ħ. Raising cane : the world of plantation Hawaii. Gam saan haak : the Chinese in nineteenth-century America -Ĥ. Overblown with hope : the first wave of Asian immigration. From a different shore : their history bursts with telling. Thomas Jefferson and Prospero are doing essentially the same thing, which is imposing their respective cultures onto the other with the sacrifice of that which qualifies them as other.1. Takaki asserts that, because of his race, Caliban is viewed as limited in his capacities to become accepted into a colonialist society, however he is not incapacitated in his ability to do this. The Tempest comes to us from an era in history in which identity based on race is originating within the popular culture. Thomas Jefferson represents the same mentality in his enforcement of policies that demanded Native Americans become more agricultural, as to stay in more proper fitting with society, so that he may “rejoice to see the day when the red man, our neighbors, become truly one people with us” (Takaki, 168) by abandoning their cultural identities. To the same effect Prospero teaches his servant his language in hopes of civilizing him to the point that he would be of some use to his rule. The Native Americans were seen as heathens, but not incapable of being civilized. If The Tempest is a metaphor for British expansion into America, drawing his name quite literally from the “Carib” tribe (a word that later was used to mean savage), the play could be seen as a prophetic text. Colonialists saw it as their divine duty to convert them so that they could live in the new society instead of being killed off like so many other “others.” This runs parallel to dealings between early American settlers and Native Americans. Likewise the British saw it as their God-given responsibility to pull the Irish out of their savage lives by imparting upon them British culture. The Irish, like Caliban, were seen as savages. Yet this is problematic, in that he could have been portrayed as Irish. The attitudes of Shakespeare’s audience toward race at this point in history, or whom they selected as their “other,” aid our understanding of Caliban. Takaki explores this identity through an analysis of Caliban. ![]() The Powhatan prophecy manifests this identity through fear of the English-American racial identity. Takaki claims that it is an identity based on race that is being established in the venture of colonialism. These encounters brought forth prophecies such as the Powhatan fear that “bearded men should come and take away their Country and that there should be none of the original Indians be left, within an hundred and fifty years” (141). ![]() Takaki discusses the arrival of the first English settlers to America and their encounters with the Native Americans. Ronald Takaki, professor of ethnic studies at the University of California, Berkley, puts the Elizabethan drama into the context of English expansion into the New World. In order to move into a more in-depth discussion of The Tempest’s discourse on colonialism, it is essential to establish a historical context of the drama. The “Tempest” in the Wilderness, Ronald Takaki ![]()
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