Josephine Lee

Race in American Musical Theater. Methuen Drama, 2023.

Milestones in Asian American Theatre, editor. Routledge, 2022.

Oriental, Black, and White: The Formation of Racial Habits in American Theater. University of North Carolina Press, 2022. Recipient of an AAU Open Access Monograph Initiative Award.

Asian American Literature in Transition, 1850 – 1930, co-edited with Julia H. Lee. Cambridge University Press, 2021.

The Oxford Encyclopedia of Asian American Literature and Culture, Editor in Chief, with Associate Editors Floyd Cheung, Jennifer Ho, Anita Mannur, and Cathy Schlund-Vials. Oxford University Press, 2020.

The Japan of Pure Invention: Gilbert and Sullivan’s The Mikado. University of Minnesota Press, 2010. 

Asian American Plays for a New Generation, co-edited with R.A. Shiomi and Donald Eitel. Temple University Press, 2011.

Re/collecting Early Asian America: Essays in Cultural History, co-edited with Imogene Lim and Yuko Matsukawa. Temple University Press Series on Asian American History and Culture, 2002.

Performing Asian America: Race and Ethnicity on the Contemporary Stage.  Temple University Press Series on Asian American History and Culture, 1997. 

“Through the Arc of the Theater: Karen Tei Yamashita does Asian American Drama,” in Approaches to Teaching the Works of Karen Tei Yamashita, edited by Ruth Y. Hsu and Pamela Thoma. New York: Modern Language Association, 2022; pp. 110-115.

“Teaching Asian North American Drama,” in Teaching Asian North American Literature, edited by Jennifer Ho and Jenny Wills. New York: Modern Language Association, 2022; pp. 46-57.

“Decorative Orientalism,” in Asian American Literature in Transition, 1850 – 1930, edited by Josephine Lee and Julia H. Lee. Cambridge and New York: Cambridge University Press; pp. 187-203.

“Suspicious Yankees and Unmanly Luxury: Racial Presence in Royall Tyler’s The Contrast.” Letterature d'America (Literatures of the Americas) 40 (2020); pp. 5-23.

“Authenticity, Mimicry, and Early African American Entertainment.” “Forum on Keyword ‘Authenticity,’” American Quarterly, Vol. 73, no. 1 (March 2021): 151-156.

“Yellowface: Historical and Contemporary Contexts,” Oxford Encyclopedia of Asian American Literature and Culture. Oxford University Press, 2020.

“Double Take” on Iona Rozeal Brown's Untitled I Female (with Elon Cook), Manual 10 published by the Rhode Island School of Design’s Museum of Art (Spring 2018): 59-61.

“East West Players and Asian American Theatre: A Retrospective,” Theatre Survey 57:2 (May 2016): pp. 238-241.

“’Something Beyond and Above’: David Henry Hwang’s Revision of Flower Drum Song,” The Theatre of David Henry Hwang, edited by Esther Kim Lee. London: Methuen 2015; pp. 129-141.

“Asian American Drama,” Cambridge Companion to Asian American Literature, edited by Daniel Kim and Crystal Parikh, Cambridge University Press 2015; pp. 89-100.

“Asian Americans on Stage in the 19th Century,” Cambridge History of Asian American Literature, edited by Rajini Srikanth and Min Song, Cambridge University Press 2015; pp. 55-70.

“Performance” in Keywords for Asian American Studies, edited by Linda Trinh Vo, K. Scott Wong, and Cathy Schlund-Vials, NYU Press (2015); pp. 185-188.

“Bridging the Big Twelve—The Committee on Institutional Cooperation Asian American Studies Consortium,” Journal of Asian American Studies (October 2009): 275-284.

“Asian America is in the Heartland: Performing Korean Adoptee Experience.”  In Asian North American Identities Beyond the Hyphen, edited by Eleanor Ty and Donald Goellnicht. Bloomington: Indiana University Press, 2004; 102-116. 

“Asian America is in the Heartland: Performing Korean Adoptee Experience.”  In Asian North American Identities Beyond the Hyphen, edited by Eleanor Ty and Donald Goellnicht. Bloomington: Indiana University Press, 2004; 102-116. 

 “Racial Actors, Liberal Myths,” XCP: Cross Cultural Poetics 13 (2003): 88-110.

“Stoppard’s (Post)Colonial Geography:  In the Native State and Indian Ink.”  In The Cambridge Companion to Tom Stoppard, edited by Katherine E. Kelly.  Cambridge: Cambridge University Press 2001; 38-52.

“Bodies, Revolutions, and Magic: Cultural Nationalism and Racial Fetishism.”  Modern Drama 44.1 (Spring 2001): 72-90.  Reprinted in Modern Drama: Defining the Field, edited by Ric Knowles, Joanne Tompkins, and W.B. Worthen. Toronto: University of Toronto Press 2003; p. 144-161.

"Asian American Cultural Production." Journal of Asian American Studies 3.3. Co-authored with Soo-Young Chin and Peter X. Feng.  (December 2000): 269-281.

“‘Speaking a Language that We Both Understand’: Reconciling Feminism and Cultural Nationalism in Asian American Theater.” In Performing America: Cultural Nationalism in American Theater, edited by J. Ellen Gainor and Jeffrey D. Mason. Ann Arbor: University of Michigan Press 1999; 139-59.

“Disciplining Theater and Drama in the English Department: Some Reflections on ‘Performance’ and Institutional History,” Text and Performance Quarterly 19:2 (April 1999): 145-158.

 “Between Immigration and Hyphenation: The Problems of Theorizing Asian American Theater,” The Journal of Dramatic Theory and Criticism 13:1 (Fall 1998): 45-69.

 “Pity and Terror as Public Acts: Reading Feminist Politics in the Plays of Maria Irene Fornes.” In Staging Resistance: Essays on Theatre and Politics, edited by Jeanne Colleran and Jenny S. Spencer. Ann Arbor: University of Michigan Press 1998; 166-185.

“Linguistic Imperialism, the Early Abbey Theatre, and the Translations of Brian Friel.” In Imperialism and the Drama,edited by J. Ellen Gainor.  London: Routledge 1995; 164-181.

“The Skilled Voluptuary: Shaw as Music Critic,” The Annual of Bernard Shaw Studies XII. University Park, PA: Penn State University Press 1992; 147-164.