The fascination of the orient and occident has been in the discussion for ages. But what makes this attraction between West and East? Why are we longing for the other side of the world and what fascinates us there?
Especially femininity has brought a lot fascination to both of these sides of the world - orient and occident -. This hot discussed topic shall be illustrated with the example of Cho-Cho San from "Madame Butterfly" and Suzie Wong, the seductive stereotype of the Asian women portrayed in Richard Mason's novel "The World of Suzie Wong".
Table of Contents
1. Introduction
2. The Asian Woman as Representation of Western Fantasies
3. The Image of the Traditional Geisha
4. The “China Dolls”
4.1 Cho-Cho San as an Example for the “China Doll”
4.2 Suzie Wong
5. Conclusion
6. Work Cited
Research Objectives and Themes
This paper explores the construction of the "China Doll" stereotype within Western discourse, examining how this trope functions as a manifestation of Orientalist fantasies. By analyzing historical and cultural representations of Asian women, the study aims to uncover why Western depictions of the East are frequently limited to these narrow, exoticized, and submissive identities, ultimately arguing that these stereotypes serve as essentialist tools for maintaining Western power dynamics.
- Analysis of Orientalism as an ideological framework in Western perceptions of the East.
- Exploration of the historical and cultural evolution of the "Geisha" and "China Doll" stereotypes.
- Case study of Puccini’s Madame Butterfly and the character Cho-Cho San.
- Examination of the film The World of Suzie Wong as a manifestation of the "China Doll" archetype.
- Critique of the intersection between racial prejudices, gendered expectations, and the preservation of "exotic" identity.
Excerpt from the Book
4.1 Cho-Cho San as an Example for the “China Doll”
The protagonist of Giacomo Puccini’s opera “Madame Butterfly” (1904) and the same-named short story version by John Luther Long (1898) is the young Japanese geisha Cho-Cho San. She is a typical example for the stereotype of the “Geisha Girl” or “China Doll” (as the Chinese equivalent). Already in her name Cho-Cho San, the image of the Geisha is reflected, since the Japanese word “Cho-Cho” means butterfly. The butterfly image has the following meaning in Japanese tradition:
“The Japanese [...] believe that a single butterfly is a symbol for young womanhood, and two symbolize a successful marriage. Jade Butterflies carved by Asian artisans represent triumphant love” (Green 33).
According to this description, there are several parallels between Cho-Cho San and the butterfly symbol. Being only 15 years old, Cho-Cho San is indeed very young and inexperienced when she marries Pinkerton. She is described as a “rather silly girl, who quickly and fatefully gives up her family ties and religion for the sake of love without realizing the temporary arrangement” (Poole 170), which demonstrates her naivety throughout the story. Moreover, her inexperience and naivety can also be related to her innocence and pureness which are typical features of the “China Doll” stereotype. Additionally, Cho-Cho San is eager to please Pinkerton and she is willing to do her best for a successful marriage with him. Referring to the oriental view on the relationship between East and West, “Lieutenant Pinkerton symbolizes the dominant, masculine America, while the fragile, exotic beauty Cho-Cho-San stands for the subordinated, feminized Asia” (Yoshihara 4). Nevertheless Cho-Cho-San represents a special kind of the “China Doll”. On the one hand, she is willing to adapt to Pinkerton’s way of life and his American culture, but on the other hand she also wants to keep her Japanese traditions. Pinkerton is attracted to her exoticness and her Asian
Chapter Summary
1. Introduction: This chapter introduces the prevalence of the "Asian fetish" and the "China Doll" stereotype, setting the foundation for investigating why Western media limits the depiction of Asian women to submissive, exotic roles.
2. The Asian Woman as Representation of Western Fantasies: Utilizing Edward Said’s concept of Orientalism, this section explores how the West constructs an image of the "submissive East" to define its own power and identity.
3. The Image of the Traditional Geisha: This chapter defines the historical role of the Geisha as a professional artist, contrasting this reality with the Western misconception that conflates the profession with prostitution.
4. The “China Dolls”: The author analyzes the "China Doll" as an infantilized, stereotypical figure that reflects Western desires for submissive, fragile, and compliant Asian women.
4.1 Cho-Cho San as an Example for the “China Doll”: This section uses the protagonist of Madame Butterfly to illustrate how innocence, naivety, and sacrifice are used to enforce the "China Doll" stereotype.
4.2 Suzie Wong: This chapter analyzes the character of Suzie Wong in the film The World of Suzie Wong, demonstrating how her portrayal reinforces racist and sexist tropes regarding Asian women.
5. Conclusion: The conclusion synthesizes the argument that these stereotypes persist because they satisfy Western exoticist fantasies, ultimately restricting the diverse identity of Asian women.
6. Work Cited: This section lists the academic and primary sources utilized throughout the research paper.
Keywords
Orientalism, China Doll, Geisha, Madame Butterfly, Suzie Wong, Stereotype, Western Fantasies, Edward Said, Exoticism, Submissiveness, Asian-American, Cultural Representation, Colonialism, Racial Prejudice, Identity Construction.
Frequently Asked Questions
What is the primary focus of this paper?
The paper examines the pervasive "China Doll" stereotype and how Western culture constructs and maintains a narrow, exoticized image of Asian women to fulfill its own orientalist fantasies.
Which specific themes are addressed?
Central themes include the academic concept of Orientalism, the historical versus the stereotypical image of the Geisha, the construction of Asian women as "dainty sex objects," and the impact of these narratives on Western perceptions of the East.
What is the core research question?
The paper seeks to answer why the Western depiction of Asian women is so frequently limited to the submissive, infantilized "China Doll" stereotype and how this reflects the power dynamics between the Orient and the Occident.
Which methodology is employed in this study?
The research adopts a qualitative approach, employing post-colonial discourse analysis—specifically through the lens of Edward Said’s Orientalism—to evaluate literary and cinematic representations.
What is covered in the main body of the paper?
The main body investigates the theoretical framework of Orientalism, provides a historical contextualization of the Geisha, and analyzes specific case studies, namely Cho-Cho San in Madame Butterfly and the character Suzie Wong.
What are the key terms used to describe this work?
The work is characterized by terms such as Orientalism, China Doll, exoticism, submissiveness, and identity construction, which describe the intersection of race, gender, and Western power.
How does the author characterize the transformation of Cho-Cho San?
The author argues that Pinkerton attempts to transform the "authentic" Japanese Geisha into an "American Geisha," reflecting a desire to merge cultural elements while maintaining his dominance over the "subordinated" Eastern figure.
What critique is leveled against The World of Suzie Wong?
The paper identifies the film as a "classic racist, sexist text" because it depicts all encounterable Chinese women as prostitutes and emphasizes the submissiveness of the protagonist, thereby reaffirming Western male fantasies.
- Arbeit zitieren
- Bachelor of Education Natalie Pehl (Autor:in), 2013, The Asian Woman as Representation of Western Fantasies, München, GRIN Verlag, https://www.grin.com/document/294637
