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The Netflix superhero show Iron Fist (2017-2018) is widely known and critiqued in U.S. mainstream media for its whitewashing controversy and cultural appropriations of Asian culture. Much of the focus has been on the protagonist Danny Rand (played by white actor Finn Jones) and how the show could have been both progressively and critically better if the character had been Asian American. However, little attention has been directed to the Asian actors and actresses of Iron Fist in terms of how they contend with and resist the Orientalist legacy of the show through their performances, and how the show helps to enable their resistance work. This paper argues that Iron Fist as a platform enables Asian Americans to use their performances as a means of negotiating their representation in Hollywood and enacting resistance against Orientalism and stereotyping. Conversely, this paper also argues that these performances and resistances are also being filtered through the Yellow Peril/Orientalist framework of the show, which troubles and complicates the representation work of Asian/Americans. To support these points, I will examine the performances of three Asian actors/actresses who play prominent roles on Iron Fist, how they conduct their resistance work, and how the show influences their resistance. Ultimately, this paper seeks to substantiate resistance work as not necessarily victories nor hopeless cases, but acts that create sites of significant and complex strategy-making, deliberation, compromise, conflict, invention, and rumination.

The History of the World travels from East to West for Europe is absolutely the end of History, Asia the Beginning (Hegel, 1956, p. 103).In 1721 Christian Wolff gave a lecture on Confucius at Halle...

Yellow Peril ideology has long cast Chinese as cruel, deceitful, incompetent disease vectors. Many US elites now tie such notions to China’s response to Covid-19. Their racialized framing of the drive to condemn and sue China however exemplifies a Chinese idiom—“big thunder, little rain” (雷声大, 雨点小)—which means noisy, yet ineffective. There are empirical obstacles to convincing the world of Chinese responsibility for the pandemic, such as that the virus spread much more from Europe and the US than from China, many Western states failed against the virus, and pandemic-related agitation against China has resulted in many anti-Asian actions. The ongoing claims are thus unlikely to be convincing beyond the Anglosphere, but still spread racism and advance a US-led anti-China mobilization.

An insensitive poem published in 1935 sparked a wave of outrage among the Indies Chinese students in the Netherlands. Titled The yellow peril, it had started as an inside joke among Leiden’s Indologists, yet quickly aroused the fury of both moderates and radicals. Their anti-colonial activism flared up for months, attracting numerous allies and eventually taking hold in the Netherlands Indies. After the Indologists had apologized, the number of activists willing to push for more structural change dwindled. As such, this microhistory lays bare some broader dynamics of anti-racism. We argue that ethnic Chinese, who continue to be portrayed as an unobtrusive model minority, have a longer legacy of activism than they are usually given credit for. This is particularly relevant in the present, when Covid-induced Sinophobia, anti-Black racism, and a reassessment of the colonial past are inspiring new movements and forging new anti-racist solidarities.

Modern scholarship has drawn hasty and numerous parallels between the Yellow Peril discourses of the 19th- and 20th-century plagues and the recent racialization of infectious disease in the 21st-century. While highlighting these similarities is politically useful against Sinophobic epidemic narratives, Michel Foucault argues that truly understanding the past's continuity in the present requires a more rigorous genealogical approach. Employing this premise in a comparative analysis, this work demonstrates a critical discontinuity in the epidemic imaginary that framed the Chinese as pathogenic. Consequently, those seeking to prevent future disease racialization must understand modern Sinophobia as fundamentally distinct from that of the past.

Deep into the novel, an inarticulate sense of unease in the psyche of Henry Park is explored being extremely disturbed, and an outcast. Trapped being in American-Korean identity, he has got his impression on his wife, Lilia beings ‘emotional alien’, ‘yellow peril: neo-American,’ ‘stranger/follower/traitor/spy’. In addition, she speaks of him being a ‘False speaker of Language’ because Henry looks listening to her attentively; following her executing language word by word like someone resembling a non-native speaker. In fact, the cultural differences between the Korean-American and the Native American bring tension around the ways the English language is used.

This article examines The Foreigner, the 2017 film adaptation of British novelist Stephen Leather’s The Chinaman (1992), starring the Hong Kong/Chinese martial arts film star Jackie Chan. The film reveals a cosmopolitical cinematic revision that foregrounds the contradictions and paradoxes of Yellow Peril, present when the film was made, during the time of Brexit in the United Kingdom. By investigating Chan’s screen persona, which has roots in Hong Kong/Chinese martial arts cinema, I focus on how the film derives and builds upon Chan’s transnational status as a cinema icon to critically engage with the conventional Yellow Peril narrative.

The aim of this article is a critical analysis of the changing landscape of American streaming and post-network television content offer in the context of Asians’ and Asian Americans’ representations. The focus of this analysis is primarily on the stereotypes — the mechanisms behind their construction and deconstruction, and their role in the shaping of the popular image of Asians and Asian Americans. The secondary goal is the attempt to show how the culturally constructed Other is constantly present in the common imagination of the TV and cinema audience, and how this construct influences production companies, audiences, and showrunners in the USA. The question of the postulated “change” in the representation of Asian and Asian Americans, and their visibility remains open for further debate. However, I have attempted to restrict it to the model example of two series over the past twenty years.

Why do Donald Trump and his supporters insist on using the term ‘The China Virus’ or its analogues to describe Covid-19? The article examines the use of a Gothicised language of invasion to represent the action of disease upon the body, and the political, colonial, or racist uses to which this has been put, beginning in the last decades of the nineteenth century with the formulation of the germ theory of disease. Most particularly, it examines the relationship between disease and ‘Yellow Peril’ racist discourse. The article closes with an analysis of the archetypal Yellow Peril novel, Sax Rohmer’s The Mystery of Dr. Fu Manchu (1913).

The Anglo-Japanese Alliance of 1905 was a watershed moment for the presence of the Royal Navy in the Pacific. Although it allowed the Royal Navy to concentrate its fleets in European waters, this strategy caused resentment due to the underlying fear of the ‘Yellow Peril’, especially in the British dominions of Australia and New Zealand. The Anglo-Japanese Alliance presented some challenges to the received Edwardian racial hierarchy and the idea of British military supremacy. This article demonstrates how the ‘port town’ not only became a place of mediation where high-level international diplomacy mingled with the face-to-face experience of an alliance ‘in practice’, but also a space through which issues such as Otherness and imperial security were contested and explored.

Tras la Primera Guerra del Opio (1839-1842) el Imperio chino comenzó a abrirse a las potencias occidentales a través del sistema de Tratados Desiguales. A su vez, un elevado número de chinos emigraron del imperio a Occidente buscando oportunidades. Los cambios políticos y económicos que se estaban dando en Occidente entonces y estos dos fenómenos llevaron a que surgiese una nueva visión occidental de lo chino: el Peligro Amarillo. Esta imagen, a diferencia de las visiones positivas que se tenían anteriormente, proyectaba a China y sus diásporas como potencial amenaza para el orden racial, económico y político internacional que había establecido Occidente a comienzos del siglo XIX. El Peligro Amarillo fue la imagen hegemónica sobre China desde la segunda mitad del siglo XIX hasta las primeras décadas del XX. Este estudio explora sus orígenes, historia, bases ideológicas y atributos principales, difundidos a través de la política y la cultura de masas. Además, se discute qué relevancia puede tener esta imagen en la visión contemporánea de Occidente sobre China. After the First Opium War (1839-1942) the Chinese Empire began to open up to Western powers through the Unequal treaty system. At the same time, a large number of Chinese emigrated from the Empire to The West looking for opportunities. The political and economic changes that were taking place in the West at the moment and these two phenomena led to the emergence of a new western image of chineseness: The Yellow Peril. This image, in contrast to the positive views previously held, portrayed Chine and its diasporas as a potential threat to the international racial, economic and political order established by the West at the beginning of the 19th century. The Yellow Peril was the hegemonic image of China from the second half of the 19th century until the early decades of the 20th century. This research explores its origins, history, ideological basis and main attributes, which were spread through political discourses and the media culture. In addition, it discusses the importance that this image may have in the contemporary western view of China. Universidad de Sevilla. Grado en Estudios de Asia Oriental

The goal of this essay is to explore what kind of hate is produced against Asian bodies in reaction to the COVID-19 pandemic. By centering Asian/American affect and materiality – marginalized voices, narratives, and feelings of Asian/Americans as affective-performative texts, this essay attends to critique the historical continuum of racial discrimination against Asian/Americans (i.e., yellow peril) and advocate for social justice, equality, and inclusion in the U.S. Overall, I argue that Asian/American bodies are both physiologically and ideologically desensitized, dehumanized, and weaponized as the revival of yellow perils over the COVID-19 pandemic. Moreover, this essay highlights the possibility of adding affective and performative lenses in Critical Intercultural Communication research, exploring the politics of Asian/American bodies and the hate discourse as a case study for further academic conversations in Asian/American scholarship in Communication.

The COVID-19 pandemic brought about not only political, social, and economic disaster globally, but also rising hate and the exacerbation of social inequity. As the pandemic spread beyond China, hate crimes against Asians skyrocketed in the United States and internationally. Amidst growing xenophobia and a global health crisis, 2020 also marked worldwide Black Lives Matter protests. Memes that featured “Roof Koreans” started being shared during the protests, along with the already racist memes about COVID-19 that targeted Asians. In this essay, we critically analyze memes from the spring and summer of 2020 to examine how Asian/Americans are not only positioned and reproduced as the Hated Other (“Kung Flu”), but also how they function as Proxies of Hating (“Roof Koreans”) in service to white hegemony. Using critical discourse analysis, while also responding to Palumbo-Liu’s 1994 essay examining images of Korean Americans from the 1992 LA Uprising as proxies of white hegemony, we explore the symbolic connections between these memes and the pervasive narrative of Asian/Americans as both yellow peril and model minority.

The emergence of COVID-19, or the Coronavirus, has sparked a wave of anti-Asian attacks around the world. The cultural logic that does not distinguish among Asian cultural and ethnic groups, as wel...

This study examines the character of racism as a social relation. As such, racism is continuously produced and modified, not only culturally and ideologically but also in social interaction. Understanding racism and its repercussions demands close investigation of all the processes involved. An instructive example is an incident that unfolded in the early 1910s in Broome, Western Australia. The exemption from immigration restriction of a Japanese doctor raised tempers at a time when the nationwide aspiration for a racially homogeneous society determined political and social attitudes, and ‘whiteness’ was a crucial element of Australianness. The possibility of admitting a Japanese professional to a town that was already suspected of race chaos fuelled debates about the question of ‘coloured labour’ and the ‘yellow peril’, while challenging the unambiguousness of class and race boundaries. The influence and wealth of some Japanese, the indispensable position of their compatriots in the pearling industry, and the skills and reputation of their doctor, supplemented with the distinct racial pride of the whole Japanese community, proved to massively impede and disrupt the unrestricted implementation of white supremacy.

While recent literature on Asiatic racial form has drawn attention to the ways that techno-orientalism represents Asian life as mechanically non-human, the COVID-19 pandemic and other developments under the Anthropocene draw renewed attention to the construction of Asian peoples as a source of biological and contagious threat to the West. In this article I argue that a unique discourse of bio-orientalism contributes to the depiction of Asians as a "Yellow Life" that is an existential threat to Western forms of life. Western life posits that this Yellow Life must be resisted and ultimately eliminate for the flourishing of all non-Asian life. Through an attention to biological depictions of Asian life in yellow peril literature, I chart how bio-orientalism imagines Yellow Life as ontologically different from Western life forms and as innately animate through both its macroscopic growth and microscopic threat of contagion. Rather than embracing an Asian Americanist response that would also seek to disavow Yellow Life, in a reading of Bryan Thao Worra's poetry I speculate upon embracing Yellow Life as another mode in which Asian American studies imagines otherwise forms of life that challenge and move beyond contemporary Western-centric and humanist responses to anti-Asian racism.

Yellow Peril and other anti-East Asian themes are a recurring but rarely acknowledged feature of the oeuvre of Robert A. Heinlein. Still revered by an overwhelmingly white, male and ideologically libertarian readership, the “Dean” of American Science Fiction made extensive use of threatening, hateful or contemptible images of East Asians in novels that appeared from the 1930s through the 1960s. The contradiction between Heinlein’s self-portrayal as broad minded and unbiased on issues of race and religion and the descriptions of East Asians as menacing and untrustworthy Others that suffuse his fiction has not been systematically investigated until now. Exposing Heinlein matters because he continues to enjoy a large readership and inspires other science fiction authors. The stereotyping expressed in novels like The Moon is a Harsh Mistress and the dehumanization expressed in novels like Starship Troopers continue to shape the social and political attitudes of non-East Asian Americans both in domestic race and ethnic relations and in international affairs.

Using the ongoing coronavirus disease 2019 (COVID‐19) pandemic as a case study, this paper engages with debates on the assimilation of Asian Americans into the US mainstream. While a burgeoning scholarship holds that Asians are “entering into the dominant group” or becoming “White,” the prevalent practices of othering Asians and surging anti‐Asian discrimination since the pandemic outbreak present a challenge to the assimilation thesis. This paper explains how anger against China quickly expands to Asian American population more broadly. Our explanation focuses on different forms of othering practices, deep‐seated stereotypes of Asians, and the role of politicians and media in activating or exacerbating anti‐Asian hatred. Through this scrutiny, this paper augments the theses that Asian Americans are still treated as “forever foreigners” and race is still a prominent factor in the assimilation of Asians in the United States. This paper also sheds light on the limitations of current measures of assimilation. More broadly, the paper questions the notion of color‐blindness or post‐racial America.

The pandemic has rearticulated racial discourses in unprecedented ways and at an accelerating pace. The resurgent protests of Black Lives Matter demand fundamental changes in the criminal (in)justice system and racial relations in the US beyond the Black–white dichotomy. In this paper, I argue that our current shared struggles require a new form of internationalism against the rapid right-wing turn of global hegemonies that does not draw lines between the simple binaries of “East vs. West,” “white vs. Black,” or “authoritarianism vs. democracy,” but in the interconnected fights against the militarized police state, neoliberal capitalist order, Han supremacy, and the continued impacts of Euro-American coloniality.

Cet article analyse le partage intergénérational de recettes de soupes familiales chez les Sino-Américains à partir d’enregistement audio et video de séances de cuisine. Trois thèmes principaux ressortent: 1) la construction de l’hygiène au cours de la préparation des repas, 2) l’interrogation de l’authenticité et de la “chinoisité” dans les pratiques d’alimentation, et, 3) la revendication du capital culturel comme élement identitaire d’un groupe marginal aux Etats-Unis à travers les connaissances intergénérationnelles de l’alimentation. Considérés ensemble, ces thèmes montrent comment les Sino-Américains sont aux prises avec une longue histoire de discrimination et, en même temps, repoussent les tendances à l’assimilation grâce à la préservation positive de leur affinité culturelle et dessinent des espaces pour les nouvelles générations. This paper examines Chinese Americans’ intergenerational sharing of important family soup recipes in audio/video-recorded cooking sessions. Three main themes emerged: 1) Construction of hygiene around Chinese meal preparation; 2) questioning the authenticity and Chineseness of particular food practices; and 3) claiming cultural capital as part of a marginalized identity group in the U.S. through intergenerational food knowledge. Taken together, these themes demonstrate how Chinese Americans wrestle with a long history of discrimination while simultaneously pushing back against assimiliationist tendencies through preserving positive cultural affinity and carving out spaces for newer generations.

A constituinte de 1934 apresentou uma série de restrições à entrada de imigrantes no Brasil, ganhando contornos maiores nos anos que seguiram ao "Estado Novo" getulista. Entremeado por discursos que perpassaram dimensões eugênicas, sanitaristas e até morais, a entrada de estrangeiros em solo nacional foi pauta dos debates da constituínte. Estava implicada a ideia de um “imigrante ideal” assim como o propósito de afastar aquele outro que se mostrava indigesto a um modelo de cidadão e sociedade que naquele contexto se empreendia constituir. A proposta desse artigo é apresentar a gênese desses discursos no contexto da transição da República Velha no âmbito da Constituinte de 1934, sobretudo quanto à questão do “Perigo Amarelo” em sua interface com panorama da política nacional e internacional que o Brasil se via emaranhado. &nbsp

One of the most compelling qualities of Melbourne artist Eugenia Lim's Yellow Peril is its multi-layeredness. Lim's aesthetically precise, conceptually rich project explores complex histories and c...

While important scholarship exists on the television representations of Asian American identities, research in the UK has been focused on African Caribbean and South Asian identities. Very little scholarly attention has been paid to televisual representations of British Chinese identities, despite the British Chinese constituting one of the larger and fastest growing ethnic minority groups within contemporary Britain.\ud \ud Informed by an understanding of the complexity of the term ‘British Chinese’, this article explores the representation of British Chinese identities in British television drama. Despite the long-standing absence and invisibility of such identities in British television, as perceived within the popular imagination in Britain and British Chinese discourses, the article finds that a larger number of British Chinese actors have found notable employment in British television than is commonly acknowledged or remembered within the popular imagination.\ud \ud The article draws on a database that deploys a range of research, including archive research at the BFI Reuben Library, to map the presence of British Chinese actors in British television drama since 1945. Through this historiographic focus, the article identifies some of the most significant trends in representations of British Chinese identities in British television drama. It then illustrates and provides more specific texture to these broader patterns through the close textual analysis of a case study, the BBC1 flagship series Sherlock (2010-present). It concludes by reflecting on the contemporary period, which has seen an influx of British Chinese actors in British television drama as well as high-profile diversity campaigning within Britain.

China has long been present in Western science fiction, but largely through notions of Orientalism and depictions as the 'Yellow Peril'. However, with China's new ascendancy and modernization over the last 15 years, along with its investment and collaboration with Hollywood in particular, contemporary film in general, and contemporary science fiction in particular, has embraced this new China in ways hitherto unseen before. This essay examines three contemporary western/American science fiction films which each represent and construct China in slightly different ways, and in ways which reveal the West, and Hollywood's reappraisal of the relationship with China and its emerging 'Soft Power.'.

SINCE ITS EMERGENCE IN THE 1980s AND 1890s, Asian Canadian Studies has gained recognition as a field of inquiry that could mount a wide-ranging and radical critique of mainstream Canadian history, society, and culture. Originally inspired by the rights-based movements of the 1960s and 1970s, Asian Canadian Studies grew out of community level activism against race and class oppression (Lai 1). Its principal modality has been to construct a "collective self," or Asian Canadian identity, through which to challenge the representation of Asians as perpetual outsiders or aliens and to rewrite existing Canadian history to acknowledge such racist state policies as the Chinese Exclusion Act, the Japanese Canadian Internment, and the Komagata Maru Incident (Chao 18). In this way, the field has historically unfolded within a nationalist framework, locating the nation-state as the primary interlocutor of the Asian/alien body in Canada and taking up a kind of "strategic essentialism" (Lai 5). Nonetheless, as the field increasingly becomes drawn into the academy, critics have noted some possible limitations of this framework. One such limitation is that the focus on domestic identity politics, and the promotion of citizenship and national belonging as political goals, runs the risk of reinforcing a reductive pluralism which cannot "shake up the systemic historical conditions and ... ideologies of normativity that have produced racialized subjects and minoritized cultures" (Kamboureli 64). In exploring ways to expand on the Canadian national frame, Lily Cho has posited that Asian Canadian Studies could be situated more clearly within a postcolonial, diasporic paradigm. Such a paradigm, she contends, could generate insights into how the construction of Asian-ness in Canada is deeply connected to Asian-ness elsewhere (188). Indeed, Cho points out that there is a need to "think about the formation of the Canadian state through imperialism and colonialism" and to see Asian Canadian history within a wider, global context of capital and labour migration (188). Focusing specifically on Chinese Canadian communities, Cho illustrates how a "diasporic perspective" can highlight the links between Chinese migration and British imperialism (186). That is, a diasporic perspective can consider how early Chinese immigrants to Canada came from South China, where the Opium Wars "had disrupted the local economy [and] provid[ed] much of the push for emigration" (Stanley 56). Furthermore, it can stress how many of these immigrants were indentured workers, imported via the coolie trade which burgeoned in British Hong Kong after the Atlantic slave trade went into decline (Peter Li 20). Importantly, then, a postcolonial, diasporic paradigm can productively complicate the history of Asian Canadians by acknowledging that this history is not only shaped in the Canadian context; rather, it is part of a larger history of imperialism, colonialism, and capitalism. If Cho's arguments gesture to the benefits of a global, historical, and comparative framework, Larissa Lai's book, Slanting I, Imagining We, emphasizes the perils of relying too heavily on a fixed notion of Asian Canadian identity. Lai argues that the tactic of strategic essentialism has become seriously problematic due to the pressures of "state incorporation" currently informing Asian Canadian Studies (6). Underlying these pressures is an investment in liberal multiculturalism that reinforces static notions of racial and national difference and works to "recirculate the logic of colonialism in newly embodied forms" (23). This logic becomes all the more insidious in a post-9/11 Canada, where narratives of citizenship, nationalism, and security have become intertwined in ways that reproduce Orientalist images of Others as unassimilable and anti-democratic foreigners. As Lai points out, the 2010 Maclean's article entitled "Too Asian" suggests that "the trope of the 'yellow peril'" has been reinvigorated in the national imaginary (Lai 17). …

This paper focuses on how Japan was represented in the most popular Belgian comics at a particular period in time, right after the Second World War and just before the image of Japan as an economic superpower (that exported many commodities to Europe or the USA) became widespread from the 1960s on. Within the field of European comics, Belgian comics played a crucial role in the decades after the war with major artists such as Herge, Franquin, Jacobs, Vandersteen and many others. Moreover, the Belgian comics industry attracted many artists from other countries and exported her products to various countries (especially France). The comics published in dailies, journals and albums formed at that time an important means of entertainment for the youngsters (television started only in the 1950s in Belgium). Furthermore, the Belgian comics culture is interesting since it involves two different traditions: a French language one and a Dutch language one. In various stories, published between 1945 and 1960, we find representations of Japan. On the whole, two basic approaches of the Japanese Otherness stand out: - the “Yellow Peril”, strongly referring to the last World War (for instance Jacobs' Blake et Mortimer , Le Secret de l’espadon , Hubinon & Troisfontaines , Charlier's Buck Danny , Les Japs attaquent ). Usually these comics were drawn in a more realistic style. - the “touristic ancient or exotic Japan” without any reference to WWII (for instance Vandersteen Suske en Wiske , De Stemmenrover , Will & Ros y Tif et Tondu , Le Fantome du samourai ). Usually comics of this approach combine adventure and humour. The first kind of comics is typically for the comics produced in the first years after war, while the second kind is rather typical for the late 1950s. So, even in this brief period of 15 years already an important shift of the image of Japan is noticeable, from a belligerent enemy to an exotic and touristically interesting culture. The paper will offer a more detailed analysis of some examples and formulates some possible explanations for this shift.

In 1906, a South African newspaper published a picture of a Chinese man's scalp. An investigation revealed that traditional braids were regularly taken from executed Chinese prisoners and sold to high-ranking colonial officials as curiosities for their private collections. How is one to understand such an event? Drawing on newspapers, photographs, and illustrations of the Chinese queue from the 1600s, as well as the official investigation into the scalping incident and the ensuing press coverage, this article reflects on the intersectionality embodied by the Chinese braid. It will examine the Chinese hairstyle as a social signifier, both in China and throughout the English-speaking world. While the scalping incident seems highly unusual, placing it within a wider social history of hair, Yellow Peril discourse, human trophyism, and the commodification of bodies reveals how colonial power was always relational and always contestable.

This paper examines the oscillations of Western stereotypes regarding the Chinese. The research uses a multidisciplinary approach by combining agenealogical study of the character of Fu Manchu with recent fieldwork in Taiwan among Western expatriates. The combination of these studiesreveal an insight regarding the staging of whiteness from the global scale of international relations down to micro performances of quotidian expatriate life.A particular focus is on how expatriates make use of spatial configurations to accentuate their fantasies of superiority. The paper identifies the universalismof such Western performances as a parochial cultural element and embraces a method of conducting fieldwork without denying the subjectivity of the ethnographer, Bu çalışma Çinlilere yönelik Batılı stereotiplerinin dalgalanışını inceliyor. Araştırma çok disiplinli bir yöntem kullanarak Fu Manchu karakterinin tarihi gelişimini Tayvan da yapılmış güncel saha çalıştırmasıyla paralel olarak inceliyor. Bu iki incelemenin birleşimi, uluslar arası ilişkiler arenasından gündelik hayatın mikro-performanslarına kadar beyazlığın nasıl oynandığı konusunda yeni bir anlayış sunuyor. Araştırmanın önemli bir vurgu noktası Tayvan da yaşayan Batılıların üstünlük fantezilerini gerçekleştirmek için ürettikleri alansal konfigürasyonlar üzerine. Araştırmabu Batılı performansların evrensellik iddalarını dargörüşlü bir kültürel öğe olarak algılayıp, araştırmacının sübjektifliğini red etmeyen bir saha çalışması yöntemi benimsiyor

Based on a 2011 national survey, I argue that while US conservatives feel somewhat cooler toward the East Asian democracies than US liberals do, they feel much cooler toward China. Greater average conservative than liberal prejudice lingers, cooling attitudes toward the “Yellow Peril” of all Asian countries, but communism is a larger source of ideological differences over China. For cultural, social, economic, and political reasons, conservatives feel substantially cooler than liberals toward both communist countries in general and “Red China” in particular. I conclude by suggesting that with gerrymandering and ongoing ideological sorting, these ideological differences over China on Main Street may come to play a greater role in the making of US China policy.