The Construction of the Chinese Image in Spatial Writing: A Case Study of Pearl S. Buck’s East Wind, West Wind

Abstract

Pearl S. Buck roamed between China and the West and was deeply familiar with Chinese culture. Through the realistic portrayal of Chinese society and the Chinese people, she not only eliminating the Western stereotype on China to some extent, but also exerted great influence on the comparative studies of Chinese and Western cultures. The background of East Wind: West Wind (1930) is primarily set in China from the late 19th century to the 1920s and 1930s. During this period, China faced aggression and cultural impact from Western powers, while Western concepts of science, democracy, and equality were gradually introducing to China, colliding fiercely with traditional Chinese culture and values.

In East Wind: West Wind (1930), Pearl S. Buck, through the unique perspective of Kwei-lan’s resistance, hesitation, and acceptance of Western culture, reflects the historical context and social changes of the time, providing a true portrayal of Chinese society and its people during that era. While the shaping of character traits and era characteristics is achieved through spatial settings (Long, D. Y.), study the spatial writing strategies of East Wind: West Wind (1930) for constructing the image of China is of great significance. This article, based on Lefebvre’s spatial theory, takes Pearl S. Buck’s East Wind: West Wind (1930) as the study object, examines the physical and social spaces within the text, and analyzes how such spatial writing patterns contribute to the construction of China’s image.