| 英文摘要 |
It would not be exaggerating to state that issues of identity have been the most discussed subject in literary and cultural studies in the United States of America in the past ten or fifteen years. Anthony Kwame Appiah and Henry Louis Gates, Jr have argued that the eighties might very well be characterized as 'the period when race, class, and gender became the holy trinity of literary criticism' (625). Although there is no indication that academic interest in interrogating identity politics will subside in the near future, there have been relatively few attempts to study the various ideologemes of identity as a general subject. Class, gender, and race have been very productively studied as separate subjects or as overdetermination of a subject, particularly from feminist, Marxist, and postcolonial perspectives. However, what do ideologemes that create identity have in common' How do they differ in formation and function? These questions are seldom asked in most discussions of identity. Although I do not intend to provide a definite answer to these questions, I shall try to formulate a more constructive understanding of identity as 'performance' and take E. M. Forster's A Passage to India to illustrate how race is performed in colonial India. |
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