Fachbereich 05 Department of English and Linguistics

Seminar: The American Melodrama

Leitung: Dr. Sonja Georgi
Sommersemester 2013



The Asian Woman as Representation of Western Fantasies











Natalie Tanja Pehl B.Ed. (7. Semester)
Baumgartenstrae 11 Englisch, Germanistik,
55543 Bad Kreuznach Philosophie
Telefon: 0671/9799715
Email: natalie_tanja@yahoo.de


Table of Contents
Table of Contents ........................................................................................... 2
1. Introduction ................................................................................................. 1
2. The Asian Woman as Representation of Western Fantasies ...................... 2
3. The Image of the Traditional Geisha ........................................................... 3
4. The China Dolls ........................................................................................ 4
4.1 Cho-Cho San as an Example for the China Doll ................................. 5
4.2 Suzie Wong ........................................................................................... 6
5. Conclusion .................................................................................................. 7
6. Work Cited .................................................................................................. 9



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1. Introduction
Oriental Sex as White Mens Fantasy?
In recent decades Asia has become a center of attraction for many
Western tourists. There is even a strong racial preference towards Asian
women known as Asiaphilia (Tan 33) expressing the Westerners Asian
fetish. This clear sexual preference of Asian females among some Westerners
is also known as the so-called Yellow Fever (Eng 158). Accordingly, it is no
longer a secret that there is a big business in Asia regarding sex tourism and
many Western men even contact partner agencies to search for a partner in
Asia. In an interview, an Asian woman reported that men with the Asian
fetish expect women to be sex-craved housekeepers and that many Asian
women are offended that they are wanted simply because they are Asian
(Tan 33).
Those observations can be easily related to the attraction between Asian
women and Western men. Whereas white men are attracted to the
exoticness of the Asian woman, the Asian woman reciprocates this attraction
towards them. This observation already inherits that people often tend to be
attracted to something different.
Therefore this paper will deal with the Asian-American stereotype of the
so-called China Doll. To understand the establishment of that stereotype
better, the image of the traditional Geisha will be explained in more detail.
Furthermore it will try to answer the following question: Why is the Western
depiction of the East in many cases limited to that stereotype of the Asian
woman? As a detailed example for the China Doll this paper will refer to the
Geisha Cho-Cho San of Puccinis opera Madame Butterfly and the Chinese
prostitute Suzy Wong. Thus, it wants to state that the stereotypical view on the
Asian woman represents the Oriental fantasies of the West and has to suffer
from constrictions due to the Wests limited depiction of the East.
Consequently, the China Doll is restricted to her stereotype due to racial
prejudices and is captured in her socially constructed identity.
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2. The Asian Woman as Representation of Western
Fantasies
According to the literary critic and post-colonial theorist Edward Said,
the term Orientalism was established in the 19
th
century and can be
discussed and analyzed as the corporate constitution for dealing with the
Orient (Trefflich 6).
There are three concepts of how to define Orientalism. First of all,
Orientalism is considered as an academic discipline. Correspondingly, an
Orientalist is anyone who teaches or writes about the Orient (e.g. historians,
sociologists). Moreover, Orientalism can be used as a style of thought, namely
positioning the Orient in juxtaposition to the Occident. Thirdly, Orientalism is a
Western style of dominating, restructuring and having authority over the
Orient, such as power structures (military, scientific, and political institutions).
In this connection, Orientalism is a depiction of the orient which is constructed
(cf. Said 88). According to that, the second and third definitions are relevant
for this paper.
About The World of Suzie Wong, a movie which I will exemplify later,
one author said, the film title suggests that it is an Orientalist text in Edward
Saids sense of the term [and] this text constructs a vision of the Orient and
implicitly justifies Western exploitation of that world (Feng 41). Accordingly, it
clarifies that the Western vision of the Orient is socially constructed. The
Western depiction of the East is not naturally developed but still necessary as
an ideological supplement (Yegenoglu 15) to the dominating power of the
West.
Consequently, the imagination of the dominant West and the
submissive East is easily created. Based on the historical past, people from
the Far East are often associated with submissiveness and loyalty to their
regime. According to Said, the West represents the Occident and the East the
Orient (cf. Said 88). Despite the Eastern subordination, the Orient had an
important meaning in help[ing] to define Europe (or the West) as its
contrasting image, idea, personality [and] experience (Said 87ff.).
Subsequently, Said identifies how the essentializing and dichotomizing
discourse of Orientalism functions in a complex but systematic way as an
element of colonial domination (Yegenoglu 15). This proves the necessity of
the East to the West and that the East enables the West to define its power.
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Comparing to that description, the relationship between East and West is
similar to the Confucian symbolism of Yin and Yang.
The yin and yang symbol merits fuller discussion. On one side of the
circle is the yin (dark, cold, moist, feminine, intuitive) and on the other
side is the yang (bright, hot, dry, masculine, rational). [] The harmony
or balance of the complementary qualities of yin and yang makes a
thing what it is properly in its perfection. If things get out of balance,
then an undesirable state of affairs results (Gualtieri 62).
Thus, East and West stand for two counterparts fitting to each other.
The West as masculine part is drawn to the femininity of the East and both
feel the desire to unify with each other. The center of attraction is the
exoticness and fascination by the difference of the Eastern features which is
the base to invent certain stereotypes and idealized images in our minds.
Connected with Western clichs of the orient like the imagination of the
harem for example, the Eastern image is contributed with sexuality and
eroticism. Moreover, the harem fantasy [] is presented in Orientalism only
as a Western invention (Varisco 160). As a consequence, Western minds
establish the fantasy of fulfilling their desires in the Orient. Oriental women
symbolize the Western male fantasies of power and sexual access because
they express unlimited sensuality, they are more or less stupid, and above all
they are willing (Teo 242). Therefore, the Asian woman is often connected
with those expectations and represents an ideal of the Western desires.
3. The Image of the Traditional Geisha
Being an essential part of traditional Japanese culture, the Geishas
were seen of high reputation and social rank in Asian society. The word Gei-
sha etymologically derives from the word gei which means art in Japanese
language and the word sha stands for doer. Combining those terms
together, the word Geisha means performing artist (King 141). This
translation already reveals that the profession of the Geisha is focused
primarily on artistic fields and was known as a good dancer, singer, musical
instrument player, conversationalist and a wonderful hostess (Kapunan 6).
The Chinese equivalent of the Geisha is the so-called China Doll or Lotus
Blossom. Mistakenly, the profession of the Geisha is often connected with
prostitution but a geisha was a professional entertainer not necessarily
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available for sexual relationships (Poole 167). This prejudice may derive from
the observation that the Geisha sells her artistic services such as music and
dance and a prostitute sells herself for sexual actions. Moreover, Geishas
were beautiful, well-educated in many subjects, and able to provide the social
and intimate companionship that many of the Yakuza and nobility demanded
of themselves and others (51 Ujiie) which enabled them to get easy access to
influential men from higher classes and reputable working positions.
In contemporary Japanese culture, the existence of Geishas has
become very rare. Nowadays, there are more other alternative job
opportunities for women which makes the profession of being a Geisha less
attractive. Still, the image of the Geisha embodies the traditional values of
Japanese culture.
4. The China Dolls
The Asian-American stereotype of the China Doll is also called Lotus
Blossom or Geisha Girl (as Japanese equivalent). Analyzing the names, we
get obvious hints for the upcoming definition. Referring to this stereotypical
image the Chinese American actress Mary Mammon said: In this particular
case being small was a good thing. They thought we were very cute and so
daintyIn other words, we were little Chinadolls. (Chun 68)
Already the word doll indicates features such as fragility, softness,
beauty and also cuteness. Those abilities can be projected easily on the
image of this female figure. The constant assertion [] of the [Asian] woman
as an infantilized, toy-like creature relegates her to the realm of childhood and
fantasy (Poole 171). On the other hand a doll also serves as a toy which
implies the subservient qualities the China Doll stands for. Relating to that
observation, Asian women in Asia or the United States are seen as
submissive, compliant and eager to please their men (Danico 134).
Additionally, therefore the China Doll is often compared in terms with
prostitutes, as dainty sex objects (Espiritu 107).
Referring to Buddhist symbolism, the lotus blossom represents
immaculate purity, love and compassion (Beer 170) which emphasizes the
pure nature and innocent features of the China Doll.
5

Generally, Asian American Females are characterized as childlike,
fragile and innocent like in Chinadolls, Polynesian Babies, and Asian
Thumbelinas (Ruth 213). Portrayed as nearly supernatural beings, is also a
reference that the image of the China Doll can only be a cultural product and
as such is prone to manipulation (Poole 171). The first Chinese American
actress portraying this stereotype was Anna Mae Wong.
4.1 Cho-Cho San as an Example for the China Doll
The protagonist of Giacomo Puccinis 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 Pinkertons 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
6

mentality but on the other hand he wants to combine both cultures and tries to
transform his doll Cho-Cho-San to an American Geisha. This reveals for
example, when Pinkerton wants her to convert her belief to Christianity.
Moreover, their child actually represents the mixture of the benefits of both
cultures. When her child is sleeping, it is said, that he was good as a
Japanese baby, and as good-looking as an American one (Long 381). She
trusts unconditionally in Pinkertons return to her and believes in the triumph of
their love and reunification. When Pinkerton is absent, no daintier creature
need one ever wish to see than this bride awaiting anew the coming of her
husband (Long 70).
The ability of a butterflys fragility is also shown when Cho-Cho San
cannot bear the return of Pinkerton and his new wife to Japan. Receiving a
telegram addressed to Pinkerton that his new wife wants to take her child
away, Cho-Cho San commits suicide afterwards, which indicates her
desperation and inability to cope with the situation. Consequently, Cho-Cho
San also embodies the stereotypical image of the tragic heroine that has
unrightfully been betrayed (Poole 174) and sees death as the only solution for
her misery.
4.2 Suzie Wong
1

The novel The World of Suzie Wong (1957) by Richard Mason is a
famous novel which has also been adapted to a Broadway play (1958) and
also a movie (1960) (cf. Feng 42f.). The film version deals with the Chinese
prostitute Suzy Wong (Nancy Kwan) living in Hong Kong who meets the
British artist Robert Lomax (William Holden). Later a romance develops
between them.
In the movie, Suzie is also presented as young and naive but she is
also realistic and wants to be independent. Although she is not educated that
well and cannot read and write, she prefers working as a prostitute to be
financially independent and to be able to care for her child.
The movie has received critique, since The World of Suzie Wong is
indeed a classic racist, sexist text, [since] the only Chinese Women we
encounter are prostitutes (Feng 43). Moreover, the image of the China Doll
stereotype is contrasted due to Roberts friend Kay, who is excoriated as a

1
In my paper I will refer to the movie version of The World of Suzie Wong.
7

scheming white woman; in comparison, the submissive Suzie comes to
embody desirable feminine attributes (Feng 42).
In one scene a sailor beats Suzie, when she refuses having sex with
him. Afterwards Robert rescues her but Suzie wants to tell her friends that
Robert was the one who hit her. Surprisingly, her friends react in a positive
way, since they believe that Robert must be crazy in love with her. By
watching that scene the spectator is simultaneously reassured that Asian
women want to be beaten and allowed to displace revulsion onto the Orient
(Feng 42). Due to that point, Suzies submissiveness and weakness is
emphasized further. Moreover, her inferiority reveals in the final love scene,
when Suzie pledges to stay with her American man until he says Suzie, go
away (Cho 542). Strikingly, Robert does not want to dominate Suzy actively,
Suzie rather decides voluntarily that she wants to be dominated by him.
That scene emphasizes the Western imagination that Asian women
accept their inferiority towards men naturally and that they are eager to please
them. It also represents the male desire to be adored by their women which
enhances their male consciousness.
5. Conclusion
This paper wanted to convey that the Western perception of the East is
restricted to a certain Asian stereotype. Famous actresses like Nancy Kwan or
Anna Mae Wong were very limited in the variety of their fields of acting, since
the audience was only keen on watching them always as a portrayal of this
certain image of the Asian female. Accordingly, the actors had to be forced to
follow the audience demands since they wanted to stay in business
2
.
Furthermore, the audience seemed to be fond of this image of the Asian
female, that they were not interested in learning to know how the real Asian
woman was. This may refer to the fact that the audience longs for the oriental
exoticness because it seems to be so different to their own culture.
Nevertheless, the globalization and industrialization modernizes and affects
our cultural development. This consciousness is often neglected when we
create stereotypes in our minds and stick to them. Naturally, human beings

2
Here I am referring to an interview with Nancy Kwan in the documentary Hollywood
Chinese, by Arthur Dong.

8

tend to create images in their minds to be able to grasp things they are unable
to know in its entirety because they are too distant or abstract for them.
Therefore many people are still too narrow-minded to see beyond that
stereotypical image. Of course the Asian culture develops further and is
modernized as well, especially in countries such as Japan and China whose
economies are highly-advanced.
As a result the so-called China-Doll has to stay a doll or even a toy
for the Westerners, since the people want to keep their image of the
submissive, fragile, pure and naive Asian woman being eager to please their
men, which is very distinctive from the image of the modern emancipated
Western woman. Thus, the exoticness of the China Doll has to be preserved,
since the more the China Doll would adapt to the Western culture, the more
she would lose her exoticness. Consequently, the China Doll must preserve
her specialty in order to stay desirable in the eyes of some Westerners to
please their fantasies.













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6. Work Cited

Primary Sources
Long, John Luther. Madame Butterfly. The Century: A Popular Quarterly
Volume 3 (1889): 374-393. Web. Digital Library Cornell Univ. 70ff.
The World of Suzie Wong. Richard Quine. Perf. William Holden, Sylvia Syms,
Laurence Naismith, Nancy Kwan, Michael Wilding. Paramount Pictures, 2010.
DVD.

Secondary Sources
Cho, Sumi K. Converging Stereotypes and the Power Complex. Critical Race
Theory: The Cutting Edge. Eds. Richard Delgado, John Stefancic.
Philadelphia: Temple UP, 2000. 542.
Chun Heyung, Gloria. Of Orphans and Warriors: Inventing Chinese Culture
and Identity. Rutgers University Press: Piscataway, 2000. 68.
Danico, Mary Yu, Ng Franklin. Asian American Issues: Contemporary
American Ethnic Issues. Westport: Greenwood Press, 2004.
Dong, Arthur. Hollywood Chinese 2007.
http://www.worlduc.com/VideoPlay2012.aspx?vid=131908 (23 June 2013).
Eng, David L. Racial Castration: Managing Masculinity in Asian America. Duke
University Press, 2005. 158.
Espiritu, Yen Le. Asian American Women and Men: Labors, Laws and Love.
Second Edition. Rowmen & Littlefield Publishers: Lanham, 2008.
Feng, Peter. Recuperating Suzie Wong: A Fans Nancy Kwan Dary.
Countervisions: Asian-American Film Criticism. Ed. Darrell Y. Iamamoto,
Sandra Liu. Philadelphia: Temple University Press, 2000. 41ff.
Felski, Rita. Tragic Woman. Moderne begreifen: Zur Paradoxie eines sozio-
sthetischen Deutungsmusters. Ed. Christine Magerski. Wiesbaden:
Deutscher Universitts-Verlag, 2007. 327.
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Green Brown, Myrah. Pieced Symbols: Quilt Blocks from the Global Village.
Lark Books: New York, 2009. 33.
Gualtieri, Antonio R. Search for Meaning: Exploring Religions of the World.
Guernica Editions: 1991, Canada. 62.
Kapunan, Sal. Everyone is an Artist: Making Yourself the Artwork. iUniverse:
2003, Lincoln. 6.
King, James. Under Foreign Eyes: Western Cinematic Adaptions of Postwar
Japan. Zero Books: 2012, Alresford. 141.
Poole, Ralph J. Moonlight Blossoms and White Chrysanthemums.
Melodrama! The Mode of Excess from Early America to Hollywood. Eds. Ruth
Mayer, Frank Kelleter, Barbara Krah. Heidelberg: Universittsverlag Winter,
2007. 167ff.
Ruth, Maria P.P. Women. Handbook of Asian American Psychology. Lee. C.
Lee, Nolan W.S. Zane. California: Sage Publications, 1998. 213.
Said, Edward. Orientalism. The Post-Colonial Studies Reader. Eds. Bill
Ashcroft, Gareth Griffiths, Helen Tiffin. London: Routledge, 1995. 87 ff.
Strinati, Dominic. An Introduction to Studying Popular Culture. Routledge:
London, 2000. 34.
Sun, Wei. Minority Invisibility. An Asian American Experience. UP: Lanham,
2007. 20.
Tan, Ming. How to Attract Asian Women: An Asian Women Reveals it All.
Bridge Gap Books: New York, 2001. 33.
Teo, Hsu Ming. Orientalism and the Mass Market Romance Novels in the
Twentieth Century. Edward Said. The Legacy of a Public Intellectual. Eds.
Ned Curthoys, Debjani Ganguly. Melbourne: University Press, 2007. 242.
Trefflich, Cornelia. Edward Saids Orientalism: A Reflection. GRIN Verlag:
Norderstedt, 2007. 6.
Ujiie, Iro. Inked Justice: Freelance Samurai. Privateer Book Publishing: Boise,
2007. 51.
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Varisco, Daniel Martin. Reading Orientalism: Said and the Unsaid.
Washington Press: Seattle, 2007. 160.
Yegenoglu, Meyda. Colonial Fantasies: Towards a feminist reading of
Orientalism. Cambridge University Press: Melbourne, 2008. 15.