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76 4. 5. 6. 7. Popular Culture Review culture described in the connoisseurs’ manuals of Chinese jade or oolong tea, and the stereotype of the Chinese immigrant, either withdrawn and totally Chinese, or quietly assimilated and unobtrusively American, a model of the results o f the melting-pot process” (10). This view is also shared by Frank Chin, Patricia Lin Blinde, and Elaine Kim who in Asian American Literature suggests that Jade Snow Wong defines her identity by “whatever was most exotic, interesting, and non-threatening to the white society that was her reference point” (66). King-Kok Cheung’s use o f the term “two-toned language” is very similar to the Bakhtinian Dialogism. In the essay “Discourse in the Novel,” Russian critic Mikhail Mikhailovich Bakhtin explains how “the internalized double-voiced discourse” works in the novel: heteroglossia is ""another s speech in another’s language, serving to ex press authorial intentions but in a refracted way.” Since such “speech constitutes a special type of double-voiced discourse,” it “serves two speakers at the same time and expresses simultaneously two different intentions: the direct intention of the character who is speaking, and the refracted intention of the author” (324-25). Annette Bening’s hosting the preview of The Joy Luck Club was reported by Associ ated Press in September 26, 1993’s St. Paul Pioneer Press. The comments made by Amy Tan’s mother appeared in “The Joy Luck o f Amy Tan,” Asian Pages, 10/15-31/ 93: 10. The movie version of M. Butterfly is apparently toned down to appease the audience. In the movie version, Renee Gallimard has transformed from being a pathetic figure to a tragic figure. David Henry Hwang has also deleted Song Liling’s severe criticism of the West in the court such as: “The West has sort of an international rape mentality towards the East”; the “West thinks of itself as masculine— big guns, big industry, big money— so the East is feminine—weak, delicate, poor”; the “West believes the East, deep down, wants to be dominated—^becau se a woman can’t think for herself’ (82-3). As is explained by Lily in Come See the Paradise, the 1913 Alien Land Law Act prevented Issei who were not eligible for citizenship from owning land in California. Works Cited Bakhtin, Mikhail Mikhailovich. “Discourse in the Novel.” The Dialogic Imagination. Ed. Michael Holquist. Austin: U of Texas P, 1981. 259-422. Cheung, King-Kok. Articulate Silences. Ithaca, NY: Cornell UP, 1993. — . “Re-viewing Asian American Literary Studies.” An Interethnic Companion to Asian American Literature. New York: Cambridge UP, 1997. 1-36. Chin, Frank. “Come All Ye Asian American Writers o f the Real and the Fake.” The Big AIIIEEEEE! An Anthology o f Chinese American and Japanese American Litera ture. Ed. Frank Chin, etal. New York: Meridian, 1991. 1-69. Foucault, Michele. “The Subject and Power.” Michel Foucault: Beyond Structuralism and Hermeneutics. Eds. Hubert Dreyfus and Paul Rabinow. Chicago: U o f Chicago P, 1982. 200-50. Hayslip, Le Ly. When Heaven and Earth Changed Places. New York: Plume, 1989. Hagedom, Jessica. “Introduction” Charlie Chan Is Dead. New York: Penguin, 1993. xxiXXX.