Despite the fact that substantial scholarship in Asian diasporic and refugee narratives has been developed in the post-Cold War era, critical refugee studies related to autoperformance have yet to be examined. Within this context of addressing autoperformance as an aesthetic genre, this paper explores the poetics of Vietnamese refugeehood as mediated in lê thi diem thúy’s Red Fiery Summer (1995) and the bodies between us (1996). While the former historicizes the Vietnam War from the diasporic perspective of a refugee, the latter articulates the counter master narratives by performing bodily memories of refugeehood. Informed by Marianne Hirsch’s “post-memory”, the paper demonstrates how body and memory could be inextricably and interdependently rendered as a poetics of diaspora in performance. This paper further argues that autoperforming these two aspects is critical to revisiting the history of the Vietnam War and calling the militarism of the U.S.A. into question.

中文翻译：

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表演难民的身体和记忆：lê thi diem thúy 的自动表演中的散居诗学

尽管在后冷战时代已经发展了大量关于亚洲侨民和难民叙事的学术研究，但与汽车性能相关的批判性难民研究尚未得到检验。在将汽车表演视为一种美学类型的背景下，本文探讨了以 lê thi diem thúy 的《红色炽热的夏天》（1995）和我们之间的身体（1996）为中介的越南难民诗学。前者从难民的流散视角历史化越南战争，后者通过表现难民的身体记忆来阐明反主叙事。受玛丽安·赫希 (Marianne Hirsch) 的“后记忆”(post-memory) 启发，该论文展示了身体和记忆如何在表演中作为一种散居的诗学而密不可分且相互依存。