Eurasians and the yellow peril : Trajectory of Japanese Representation in the Early Twentieth Century American Literate

本研究的目的是探讨20世纪初欧亚作家在美国创作的通俗文学中日本表现的轨迹。最初的黄祸根源于中世纪对成吉思汗和蒙古人入侵欧洲的恐惧。随着大批亚洲移民的涌入和日本在对俄战争中的胜利（1904-5年），对黄祸的恐惧又卷土重来。这一观点受到了几位欧亚作家的挑战，他们的作品帮助我们培养了从东方和从西方看待东方的双重解读。温妮弗莱德·伊顿·里夫，化名小本·瓦特纳，写了许多国际爱情小说，大多在日本上演。她的浪漫主义解构了以《蝴蝶夫人》和《菊花夫人》为代表的西方男性对日本女性的性剥削的东方主义。通过创造一个日本版的美国“新女性”，Watanna呼吁建立一种富有同情心的跨种族女性关系。口渊口的《牵牛花》作品公开批评虚假的“日本小说”。虽然《一个日本女孩的美国日记》最初是为了模仿渡渡小本的伪日本浪漫小说，但它被认为是另一部（制作拙劣的）日本小说，部分原因是野口勇对故事的情节讲述，部分原因是书中的插图以源次郎的日本主义为特色。桥村东乡是白人诗人华莱士·欧文（Wallace Irwin）的天才之作，1907年首次出现在针对亚洲移民的仇外心理和种族对立之中。桥村东乡不止一次被称为“黄祸”，他机敏的社会评论被愚蠢的闹剧包裹着糖衣，涵盖了黄祸论点的不合逻辑，以及日本狂热或美国人对日本事物狂热的情感设计。

The purpose of the present project is to explore the trajectory of Japanese representations in popular literature written by Eurasian writers in the early twentieth century America. The original yellow peril took root in the medieval fear of Genghis Khan and Mongolian's invasion of Europe. With the hordes of Asian immigrants and Japanses victory in the war with Russia (1904-5), the yellow peril fear recrudesced. It was challenged by several Eurasian authors whose works help us cultivate double readings of the West from the viewpoint of the East and the East from the West.Winnifred Eaton Reeve, under the pseudonym of Onoto Wattanna, wrote numerous international romances mostly staged in Japan. Her romance deconstructs Orientalism of sexual exploitations of Japanese women by Western men, epitomized in Madame Butterfly and Madame Chrysantheme. By creating a Japanese equivalent of an American "New woman," Watanna calls for a sympathetic inter-racial woman-to-woman relationship. YoneNoguchi's Morning Glory writings openly criticize fake "Japan fictions." Though first intended to be a parody of Onoto Watanna's pseudo Japanese romance, The American Diary of a Japanese Girl was received as another (poorly made) Japan fiction, partly because of Noguchi's episodic telling of the story, and partly because of the book illustrations featuring Japonism by GenjiroYeo. Hashimura Togo, a brain child of a white poet-writer, Wallace Irwin, first appeared in 1907 in the midst of xenophobia and racial antagonism against Asian immigrants. Called more than once by the name of "the yellow peril," Hashimura Togo's astute social commentary sugarcoated with foolish slapsticks covers illogic of the yellow peril arguments as well as the sentimental designs of Japan craze or American craze for things Japanese.