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Recommended: Essay on geisha
Geisha, shrouded in mystery, is an understandably fascinating subject. However, it is precisely the elusiveness of geisha that makes their image vulnerable to misconstruction. Geisha have been romanticised in much of Western literature to become for “male entertainment and pleasure” (Foreman, 2008, 2). I argue that the popular portrayals of geisha as being the Oriental feminine ideal, which has been “fetishized as the embodiment of perfect womenhood and genuine exotic femininity” (Le Espiritu 1997, 96-7 cited in Foreman, 2008, 10) are not only inaccurate, but highly problematic as well.
First, the inaccurate portrayal of geisha is problematic because it constitutes a type of morally flawed cultural appropriation. The controversy surrounding
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Golden’s selective omission and reconstruction of details lead to wilful misrepresentation that is harmful to geisha as a cultural group. Further research reveals Golden’s depiction of geisha as being a form of prostitutes to be erroneous. While the erotic aspect of a geisha’s work is omnipresent, it is arguably product of the artistic aspect of their work and hence secondary, rather than overt and central to their work (Foreman, 2008, 114). The exploitation and perpetuation of a stereotype that portrays geisha to be little more than glamourized prostitutes (which at best has partial accuracy) as exemplified by Golden deprives geisha of the “right” “all people have…to their culture” (Margalit and Halbertal, 1994 cited in Young, 2008, 24), in this case specifically to accurate representation. This is a problem exacerbated by geisha’s fast dwindling numbers, which “leaves them vulnerable in ways that cultures with millions of members are not” (Young, 2008, 107). Geisha hence face significant difficulty in correcting this wrongfully sensationalised legacy of their cultural group once imbibed by mainstream
Sometimes people are judged by their looks, and preferences will be made towards the more beautiful people before the less beautiful people. What individuals don’t put into account is that the person’s personality is part of their beauty. In Gail Tsukiyama’s novel, The Samurai’s Garden, through the characterization of Sachi’s personality and adversities, Gail Tsukiyama conveys the message that beauty is deeper than just the outside and this message is important because one shouldn’t judge someone just by their looks.
Saikaku, Ihara. Life of a Sensuous Woman. The Longman Anthology of World Literature. (Vol. D) Ed. Damrosch. New York: Pearson, 2004. 604-621. [Excerpt.]
are being portrayed, is the way they really are. Particular groups of people are though, shown in a
In many movies Asian women are sexually stereotyped as “exotic, subservient, compliant, industrious, and eager to please.” If not that, Japanese women are shown to be “inherently scheming, untrustworthy, and back-stabbing.” Whichever representation is used ...
Kokoro opens with the depiction of a White man by the narrator. The narrator discusses the Westerner as a non-threatening individual who was swimming with his Sensei. He described the Westerner as wearing Japanese clothing, acting in taking cues and acting as Sensei does, swimming among other Japanese people. The narrator does not describe himself as being frightened or threatened, yet he feels overcome with a feeling of thinking this particular Westerner was “quite extraordinary.” (Soseki 1957, p. 4). This is in stark contrast of many of the early depictions of Westerners. For example as Duus describes Japanese individuals as referring to Westerners as “red-haired barbarians.” This also was described in class discussions as we viewed paintings by Japanese individuals who demonized Westerners and made them lo...
In Yoshie's work, “Gender in Early Classical Japan: Marriage, Leadership, and Political Status in Village and Palace (2005),” she takes the example of Toji, women known to have played a m...
...able they really are with overtly racist stereotypes; and even with all the “human right”’ movements that spring about there is still the need for long-lasting solution against combating prejudices. By displaying stereotypes jokingly, especially ones that pertained for the Asian population, Yang proves not only do people hold prejudice against other groups with his examples of Asian stereotypes, but that stereotypes are still prevalent in today’s society.
American pop culture recently received flak for cultural appropriation. Artists such as Katy Perry and Selena Gomez were criticized for superficially incorporating Asian images into their music. However, cultural appropriation and cultural tourism – and its consequences – are commonly seen in relation to traditional culture; this lack of attention towards visual representation of modern Asian subcultures – in relation to Asian Americans – dismisses the potential impact of these images. A visual analysis of Avril Lavinge’s “Hello Kitty” and Gwen Stefani’s appearances with the Harajuku Girls reveals that the use of Japan’s Harajuku subculture in American pop culture perpetuates Asian American stereotypes. Specifically, these acts contain characteristics of the submissive “lotus blossom” stereotype and the invisibility that comes from this stereotype. These characteristics result in an insidious formation of race; Avril Lavinge and Gwen Stefani’s cultural tourism constructs the concept of an American that excludes the Asian body through contrasts between themselves and the background Asian body. This racial formation relies on the idea that the two artists have become part of the Harajuku culture, yet they are clearly distinguishable from the homogenized Asian body.
The newspaper has a way of swaying the audience one way or another, capturing them with sensationalist titles and material. Falsified ideas are spread unbeknownst to the reader because they take what they read as truth. Racialization was a practice that the media used to segregate a group of people and ascribe certain stereotypes to fulfill a certain idea that was comfortable to them. The assimilation of various races in American culture was discouraged and to be avoided, an idea that Sui Sin Far reinforced in her short story “It’s Wavering Image”. The newspaper article that was written through the lens of a white man interpreted Chinese culture in a fallacious way, making it a spectacle and exploiting the trust between races. In addition,
The Heian period(794-1185), the so-called golden age of Japanese culture, produced some of the finest works of Japanese literature.1 The most well known work from this period, the Genji Monogatari, is considered to be the “oldest novel still recognized today as a major masterpiece.”2 It can also be said that the Genji Monogatari is proof of the ingenuity of the Japanese in assimilating Chinese culture and politics. As a monogatari, a style of narrative with poems interspersed within it, the characters and settings frequently allude to Chinese poems and stories. In addition to displaying the poetic prowess that the Japanese had attained by this time period, the Genji Monogatari also demonstrates how politics and gender ideals were adopted from the Chinese.
Hollywood has a tradition of portraying Asian women as exotic, subservient, compliant, industrious, and more than often, eager to please. These race and class stereotypes of Asian American women give the impression of what Asian American women are really like to other Americans as well as to Asian Americans themselves. This perpetuates race and class inequalities of Asian Americans by allowing these belittling Asian characteristics to appear repeatedly in society. The beliefs that Asian American women are weak or passive and allow themselves to be sexually and emotionally abused by men also prevail in common media. These stereotypes of a submissive, obedient Asian woman made up of sexual desires waiting to be rescued by a man were formed by mesmerized, ignorant Westerners who were not viewing Asians as people, rather as objects for their enjoyment. These Hollywood images of ?easy women? have spilled over into mainstream images of Asian women. In result, Asian women are viewed for their sexual desire and hyper-femininity
Suzuki, Tomi. Narrating the Self: Fictions of Japanese Modernity. Palo Alto: Stanford University Press, 1996.
Gordon accurately depicts the varied and vibrant Asian culture, by showing the reader this world instead of simply describing it. Each of the men whom Gordon uses to tell the story undertakes expeditions which are mixed with hardships and triumphs. The varied spectrum of Asian cultures is covered. Readers will find Gordon’s take on tackling this topic fresh and straightforward.
Course Reader. 289-300 Said, Edward W. "Introduction to Orientalism." Course Reader. 303-312 Shelley, Mary. Frankenstein.
Though many of these stereotypes seem unwarranted, some stem from a historical background of Asian discrimination. For centuries Asians were viewed as “oriental” because of the apparent difference between Western and Eastern cultures such as choice of clothing and pronunciation of native languages. In doing so, many individuals were mystified by the mysterious and foreign Asian customs. Consequently, Americans treated Asians as if they belonged to a lower social class. With the ongoing disparagement of Asians, women faced much of the prejudice; “the few women who did emigrate to America were harassed through legislation and stereotyped as prostitutes or objects of white male sexual fantasies” cite. As a result, the perceptio...