Resisting Orientalism in Hwang's Fresh off the Boat

Metadrama and the Deconstruction of Stereotypes: David Henry Hwang's M. Butterfly and Bondage

The Past in the Present in Black Canadian Drama: A Study of Lorena Gale’s Angelique, George Elliott Clarke’s Beatrice Chancy, George Boyd’s Consecrated Ground and Andrew Moodie’s

(De)hyphenated Identity and Carnivalesque Polyphony: A Bakhtinian Reading of Hybridity and Female Characters in Zadie Smith's White Teeth and Maxine Hong Kingston's The Woman Warr

Identity and Post-Colonial Discourse: Gene Luen Yang’s American Born Chinese

Staging Body Politics in Tomson Highway’s The Rez Sisters (1986) and Brian Friel’s Dancing At Lughnasa (1990)

Pluralism, Acculturation and Assimilation in Amy Tan's The Joy Luck Club

Homogeneity and Hybridity in Selected Plays by Betty Shamieh and Diana Son

Brave Expatriate New Worlds: Migration and Acculturation in Betty Shamieh’s Roar and David Henry Hwang’s FOB

Finding a Third Space: A Postcolonial Comparative study of Verdecchia’s Fronteras Americanas and Fugard’s Sizwe Basnsi is Dead