Imperial Subjection and the Orientalist Gaze: Turning Asian Women’s Bodies into Entertainment


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Imperial Subjection and the Orientalist Gaze: Turning Asian Women’s Bodies into Entertainment, Is A Well-Researched Topic, It Is To Be Used As A Guide Or Framework For Your Research.


This thesis analyzes the structural factors that provide meaning and space to performances where violence is served as entertainment. What are the structural conditions that turn gendered and racialized violent forms of display into enjoyment? By exploring the sex tourism in Thailand, particularly ping-pong shows, I will analyze aspects of international political economy and feminist studies to address forms of display based on the abjectness of the other. I argue that sex tourism in Thailand is not part of local culture but is upheld by imperial
hegemonic perceptions of the colonized and gendered bodies. The perspectives of Orientalism, patriarchal systems, and neoliberal dynamics between Global North/South are the factors that justify exploiting tourism and performances. This thesis ultimately addresses not only Thailand but worldwide responsible tourism and politics that, by not approaching social problems as an intersection of economy, race, and gender, will continue to stigmatize and exploit vulnerable groups.

Table of Contents

Abstract ii
Acknowledgments iv
PART ONE. Introduction
● A personal report 1
● Research Question and Methodology 3
● Deconstructing the framing of victim and victim’s accountability 8
PART TWO. Structural Violence
1. Political Economy and the Sex Tourism 10
● Imperialism and the Globalized World 10
● Neoliberalism: The Interconnected World of Free Domination 12
2. Gender Constructions and Violence 18
● Building Bodies 18
● Construction of Masculinity in Thailand 23
3. Orientalism and Colonial Hegemony 25
● The Exotic and Erotic 25
● The Adventurers 31
PART THREE. The show
4. Violence as Entertainment 35
● Bodily Conquest 35
● Performance and Power 40
● Enjoyment 43
5. The broader picture and recommendations 44
Bibliography 51

Additional information


Miriam Ahn

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