They are merely stereotypes created, promoted and perpetuated by literature and mass media.
In all the three, the Asian woman’s identity is one of being an object of desire. It is all along macho Westerners dominating the humble Eastern female. M Butterfly was a Chinese woman (?) hired by the government to spy by way of a relationship with a French diplomat. Miss Saigon was a young, innocent Vietnamese bargirl sold for a night to an American Marine. Chiyo was sold into the Okia by her poor Japanese parents. They are prostitutes, tasty Asian delicacies. They can be given away as prizes in a raffle. They beg for love, have sleepless nights waiting for their men, for weeks, for years. They are even willing to go to the extent of supreme sacrifice, killing themselves only prove how intense their love is. (Didn’t Madame Butterfly disembowel herself in the end? It doesn’t matter who actually died. Madame Butterfly’s existence may be unreal but her death is real. The Perfect Woman existed only in Gallimard’s fantasy world and she died when that world crashed down.) They are passive, submissive and servile. They can be conditioned easily. A man can do anything with them. He does not have to hesitate to make impetuous advances in the first meeting. Still, men are women’s saviors who change their lives for the better and are generous enough to accept their children. When they seduce a woman, they are actually doing a favor to them.
In the plot of Miss Saigon, all the woman characters that the reader comes across are prostitutes. But there is a beautiful, innocent virgin with a heart of gold, who had never been kissed. The summary briefly is about a White man saving an Asian woman from an Asian man and the Asian woman dying for the White man (Shimizu, 2007, 36). Kim chooses love as her road to liberation. Such dependent attitude, a mistaken perception of enslavement to be empowerment, is frustrating. It later proves to ...
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Noticeably these masculine self-portrayal and self-perception of the Westerns are inclined to shape the rapport between the races in the western white society. This exposure of the West’s hegemonic self fundamentally compels Hwang to deconstruct and to destabilize the customary gender and racial stereotypes.
Memoirs of a Geisha is a beautifully edited movie that captures a woman’s evolution from child to geisha. A geisha’s gestures are deep with meaning and Bob Marshall’s film is edited in a manner that focuses the viewer’s attention on the gestures of its characters. It begins with the gestures of the geisha’s father.
Iwasaki deemed such as a breach of contract and defamation to geisha’s community. Although the novel accounts for a geisha’s life, through the memoirs of a woman, its story setting illustrates the culture, norms,
Tanaka. Siyura is sold to an okiya to become a geisha while her less attractive sister, Satsu, is sold to a brothel. During this period of time, Japan is in the process of transforming from an agrarian feudal society in the wake of the Meiji Restoration to
This disclosure of the West’s hegemonic self essentially requires Hwang to deconstruct the traditional gender and racial stereotypes. By letting the protagonist Gallimard indulge into the disguised male
The paper gives detailed information on the play M. Butterfly. The play portrays the “present day” France (The play was written in the late 1980s.). In the opening scene of the play the central character Gallimard addresses the readers and narrates his story in a flashback. The dramatist brings the readers back to Beijing in the 1960s and 1970s through the memories of Gallimard, an old man of 65 years.
It startles how Gallimard remained in an affair with Liling for twenty years without realizing his real gender. Gallimard is like a butterfly that dons at every blossoming flower oblivious of the nature if such flowers. In essence, his love for the East
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