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GEISHA ESSAY final proper format

GEISHA ESSAY final proper format - Pao-Yuan Tso Sec...

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Pao-Yuan Tso Sec: 104 (Kristopher) 11/28/2008 Attacking Cultural and Visual Stereotypes Today, many Asian, or Asian American, women receive education from prestigious institutions, succeed in the business world, and even support their children and husbands . Their contemporary roles and supremacy in society frequently contradict cultural stereotypes that misleadingly reinforce notions of Asian women as submissive sexual objects . Portraying different representations of women, Utamaro, Taraoka, and Tsuchitani utilize images of geishas to disprove this offensive, naive generalization, specifically within Western societies and amongst those who lack the ability to distinguish between a Geisha and a prostitute . Given that these visual representations not only shape public perception of Asian women, but also impact on individual subjective experiences, people’s minds are easily morphed to believing what society claims to be true . Visual images of the “Geisha” reveal the diversity of the Asian women population, hence effectively invalidating and censuring the ignorant judgements that pervade the society with deception and prejudice . Utamaro's “Hanaogi of the Ogiya” (Fig. 1) dispels the common notion that geishas, representing Asian women, are all sex workers . Given that people frequently associate Asian women with objects of eroticism, his print, by using stylistic and rhetorical approaches to
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illustrate an elegant woman, aims to undermine these shallow assumptions . Marking the overall shape of her hair and emphasizing on individual strands, evenly distributed parallel lines are used to suggest that the woman is proper, tidy, and well-mannered . Furthermore, the overall figure of the woman is outlined by solid contour lines that are consistent in thickness and darkness, hence depicting her courteousness and delicacy .
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GEISHA ESSAY final proper format - Pao-Yuan Tso Sec...

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