Rey Chow
Rey Chow is a leading contemporary cultural theorist whose work has deeply shaped philosophy-adjacent fields such as critical theory, postcolonial studies, and film and media studies. Born in colonial Hong Kong and educated in the United States, she brings a distinctive bilingual and bicultural perspective to questions of language, race, and representation. Trained in comparative literature, Chow engages and reworks major strands of twentieth-century continental philosophy—especially poststructuralism, deconstruction, and psychoanalysis—through the lenses of Chinese modernity, diaspora, and visual culture. Across influential books such as "Woman and Chinese Modernity," "Writing Diaspora," "The Age of the World Target," and "Not Like a Native Speaker," Chow examines how power operates through acts of looking, translating, and categorizing ethnic and national difference. Her ideas on visuality, ethnic spectatorship, and "languaging" have significantly influenced philosophical debates about subjectivity, ethics, violence, and the politics of knowledge production. While not a philosopher in the narrow disciplinary sense, Chow’s interdisciplinary interventions—bridging literary studies, area studies, and theory—have become indispensable for contemporary discussions of postcolonial critique, epistemic violence, and the ethics of cross-cultural interpretation.
At a Glance
- Field
- Thinker
- Born
- 1957-01-01(approx.) — Hong Kong (then a British colony)
- Died
- Floruit
- 1980s–presentPeriod of major scholarly activity in cultural theory, postcolonial studies, and comparative literature.
- Active In
- Hong Kong, United States, Europe (visiting and lecture positions)
- Interests
- Visuality and spectatorshipPostcolonialism and raceTranslation and bilingualismGender and feminismModern Chinese literature and cultureViolence and representationEthnic studies and identity politicsTheoretical humanities and critical theory
Rey Chow’s work advances the thesis that modern regimes of power—colonial, racial, gendered, and militarized—operate through practices of representation such as looking, translating, and categorizing, and that critical theory must account for how non-Western, racialized, and non-native-speaking subjects become visible and knowable only through forms of epistemic and visual violence. By foregrounding bilingual experience, ethnic spectatorship, and media technologies, she reorients philosophical questions about subjectivity, ethics, and knowledge away from abstract universals toward the concrete, historically situated conditions under which some subjects are targeted, translated, and made to "speak" for entire cultures.
Woman and Chinese Modernity: The Politics of Reading Between West and East
Composed: Late 1980s (published 1989)
Writing Diaspora: Tactics of Intervention in Contemporary Cultural Studies
Composed: Early 1990s (published 1993)
Primitive Passions: Visuality, Sexuality, Ethnography, and Contemporary Chinese Cinema
Composed: Mid-1990s (published 1995)
Sentimental Fabulations, Contemporary Chinese Films: Attachment in the Age of Global Visibility
Composed: Early 2000s (published 2007)
The Age of the World Target: Self-Referentiality in War, Theory, and Comparative Work
Composed: Early–mid 2000s (published 2006)
Not Like a Native Speaker: On Languaging as a Postcolonial Experience
Composed: Early 2010s (published 2014)
The Wounded Subject: The Poetics of Torture in Modern Chinese Literature and Film
Composed: Mid–late 2010s (published 2019)
The demand that the ethnic subject be representative of an entire culture is itself a form of violence.— Rey Chow, "Writing Diaspora: Tactics of Intervention in Contemporary Cultural Studies" (1993)
Chow critiques how minority and postcolonial intellectuals are compelled to "stand in" for their cultures, a key move in her analysis of epistemic and representational violence.
To be seen is already to be targeted.— Rey Chow, "The Age of the World Target: Self-Referentiality in War, Theory, and Comparative Work" (2006)
Here she links modern regimes of visuality—such as satellite imaging and cinematic framing—to practices of militarized targeting, revealing the violence embedded in acts of seeing.
The figure of the native speaker is a fantasy of linguistic purity sustained by institutions of knowledge and power.— Rey Chow, "Not Like a Native Speaker: On Languaging as a Postcolonial Experience" (2014)
Chow deconstructs the idealized "native speaker" as a norm that marginalizes bilingual and accented subjects, reshaping debates in postcolonial linguistics and philosophy of language.
Theory must be provincialized not by rejecting it but by insisting on the historical and geopolitical conditions of its production and reception.— Rey Chow, essay in "The Rey Chow Reader" (2010, edited collection)
She advocates for a critical engagement with European theory that highlights its situatedness and opens space for non-Western perspectives.
The wounded subject is not simply a victim but a mode of subjectivity produced and circulated through modern regimes of representation.— Rey Chow, "The Wounded Subject: The Poetics of Torture in Modern Chinese Literature and Film" (2019)
Chow theorizes how depictions of torture and suffering create particular forms of subjectivity, complicating moral and political readings of victimhood.
Colonial Hong Kong Formation
Growing up in British-ruled Hong Kong, Chow experienced everyday life in English and Chinese, colonial schooling, and hybrid popular culture. This early exposure to linguistic and cultural in-betweenness later became central to her analyses of translation, modernity, and postcolonial subjectivity.
Comparative Literature and Theory Training
During her graduate studies in the United States, Chow was trained in comparative literature amid the rise of structuralism, poststructuralism, and deconstruction. Engaging with thinkers such as Derrida, Foucault, and Lacan, she developed a strong theoretical toolkit that she would later redirect toward Chinese texts and global cultural politics.
Feminist and Postcolonial Intervention
With works like "Woman and Chinese Modernity" and "Writing Diaspora," she intervened in Sinology, feminist theory, and cultural studies, critiquing Western representations of China, essentialist identity politics, and the marginalization of women and non-Western subjects in theory. This period established her as a key postcolonial voice who rethinks theory from East–West encounters.
Visuality, Violence, and Ethnic Spectatorship
From the late 1990s and 2000s, Chow turned increasingly to cinema, media, and questions of visuality. In texts like "Sentimental Fabulations, Contemporary Chinese Films" and "The Age of the World Target," she connected film theory, military technology, and critical theory, proposing new ways of understanding spectatorship, targeting, and ethnic visibility as philosophical problems.
Languaging and Theoretical Humanities
In later works such as "Not Like a Native Speaker" and "The Wounded Subject," Chow foregrounded language as lived practice—"languaging"—and explored the wounded, racialized subject in literature and film. She also argued for the ongoing necessity of the theoretical humanities, intervening in debates about area studies, world literature, and the institutional futures of theory.
1. Introduction
Rey Chow is a contemporary cultural theorist whose work has reshaped debates in postcolonial studies, film and media theory, comparative literature, and the theoretical humanities. Writing from the institutional locations of comparative literature and cultural studies rather than philosophy proper, she nonetheless engages central philosophical questions about subjectivity, visuality, language, and violence.
Born in colonial Hong Kong and educated in the United States, Chow develops her concepts from a sustained reflection on bilingualism, migration, and the geopolitics of knowledge. Across a series of influential books—from Woman and Chinese Modernity (1989) and Writing Diaspora (1993) to The Age of the World Target (2006), Not Like a Native Speaker (2014), and The Wounded Subject (2019)—she argues that colonial and racial power are mediated through practices of seeing, reading, translating, and representing cultural others.
Her work is frequently cited for elaborating key notions such as visuality, ethnic spectatorship, the world target, languaging, the critique of the native speaker, and the wounded subject. These concepts have been taken up across disciplines to analyze how non‑Western and racialized subjects are rendered visible, audible, and intelligible—often through what she calls “epistemic” and “visual” forms of violence.
Scholars describe Chow’s oeuvre as both diagnostic and reflexive: she analyzes cultural texts (literature, film, theory, ethnography) while simultaneously interrogating the academic frameworks that authorize such analysis, including Sinology, area studies, and world literature. Proponents see her as a key figure in “provincializing” European theory without abandoning it; critics sometimes question the scope, style, or political implications of her approach. The following sections trace her life, intellectual formation, major works, and central ideas, along with their methodological and philosophical impact.
2. Life and Historical Context
Chow was born around 1957 in Hong Kong when it was still a British colony, a context many commentators regard as foundational for her subsequent attention to translation, colonial modernity, and cultural in‑betweenness. Everyday life in Hong Kong involved widespread bilingualism (Cantonese and English), colonial schooling, and exposure to Western and East Asian mass culture, situating her early experience within the asymmetries of empire and Cold War geopolitics.
In the late 1970s, she moved to the United States for graduate study in comparative literature at Stanford University. This period coincided with the institutional consolidation of literary theory in North American universities and the reception of European structuralism and poststructuralism. Chow entered an academic scene marked by debates over deconstruction, psychoanalysis, Marxism, and feminism, as well as an expanding interest in “Third World” literature and postcolonial questions.
Her subsequent career in U.S. academia—at institutions including the University of California, Irvine, and later Brown University, where she became Andrew W. Mellon Professor of the Humanities in 2007—unfolded against broader shifts in the humanities. These included the rise of cultural studies, the crisis and reconfiguration of area studies after the Cold War, and the globalization of higher education.
Commentators often situate Chow’s work historically within:
| Context | Relevance to Chow’s Work |
|---|---|
| British colonial Hong Kong | Grounded her concern with language hierarchy, colonial pedagogy, and hybrid modernities. |
| U.S. theory boom (1970s–80s) | Provided exposure to deconstruction, poststructuralism, and feminist theory. |
| Post–Cold War globalization | Framed her critiques of Sinology, world literature, and ethnic representation. |
These overlapping contexts inform her analyses of how non‑Western cultures are theorized, visualized, and taught in Western institutions.
3. Intellectual Development and Theoretical Influences
Chow’s intellectual development is often described in terms of successive but overlapping phases, each marked by distinct configurations of influence and emphasis.
Early Formation in Comparative Literature and Theory
During her graduate studies at Stanford, Chow encountered structuralism and poststructuralism, including the work of Ferdinand de Saussure, Jacques Derrida, Michel Foucault, and Roland Barthes. Scholars note her early adoption of close textual analysis and deconstructive reading, but redirected toward Chinese and transnational materials. Psychoanalytic theory, particularly Jacques Lacan, and feminist theory also influenced her first major book projects.
Feminism, Postcolonialism, and Sinology
In Woman and Chinese Modernity and Writing Diaspora, Chow combined feminist criticism, postcolonial theory, and a critique of traditional Sinology. She drew on Edward Said’s Orientalism and on debates within Anglo‑American feminist theory, while reworking them through Chinese modern literature and film. Commentators highlight her insistence that European theory must be “provincialized” from the standpoint of colonial and diasporic experience.
Turn to Visuality and Media
From the mid‑1990s, Chow’s engagement with film theory and visual culture deepened. Influences here include Laura Mulvey’s gaze theory, apparatus theory in cinema studies, and broader debates about visuality and surveillance. In Primitive Passions and later The Age of the World Target, she conjoined film studies with reflections on war, militarism, and technology, engaging—often critically—with Martin Heidegger’s notion of the “world picture.”
Language, Bilingualism, and Theoretical Humanities
In later works such as Not Like a Native Speaker, Chow foregrounded postcolonial linguistics, translation studies, and philosophy of language, while reflecting on the institutional fate of theory and area studies. She engaged debates on world literature, cosmopolitanism, and decoloniality, sometimes converging with but also diverging from thinkers like Gayatri Chakravorty Spivak and Homi K. Bhabha.
Across these phases, commentators observe continuity in her use of continental theory alongside a sustained interrogation of its Eurocentric presuppositions from the vantage point of Chinese and diasporic experience.
4. Major Works and Themes
Chow’s major books can be grouped by period and thematic focus. The following overview highlights widely noted works and recurring concerns.
| Work | Year | Central Focus |
|---|---|---|
| Woman and Chinese Modernity | 1989 | Gender, modernity, and reading practices across “West” and “East.” |
| Writing Diaspora | 1993 | Ethnicity, minority intellectuals, and tactics within cultural studies. |
| Primitive Passions | 1995 | Visuality, ethnography, sexuality, and Chinese cinema. |
| The Age of the World Target | 2006 | Visual targeting, war, theory, and comparative work. |
| Sentimental Fabulations, Contemporary Chinese Films | 2007 | Affect, attachment, and global visibility in Chinese films. |
| Not Like a Native Speaker | 2014 | Languaging, accent, and postcolonial language politics. |
| The Wounded Subject | 2019 | Torture, suffering, and subjectivity in modern Chinese literature and film. |
Recurrent Themes
-
Mediation and Representation
Across her oeuvre, Chow examines how literature, film, and theory mediate colonial and national histories. Proponents emphasize her view that representation is not secondary but constitutive of political subjectivity. -
Visuality and Spectatorship
From Primitive Passions onward, she interrogates how seeing is structured by power, contributing to debates on ethnic spectatorship, exoticism, and global media visibility. -
Ethnicity, Diaspora, and Identity
In Writing Diaspora, Chow analyzes the burden placed on minority and postcolonial intellectuals to stand in for entire cultures, influencing later discussions of representation and identity politics. -
Language, Translation, and Non‑Nativeness
Works like Not Like a Native Speaker foreground the politics of accent, bilingualism, and linguistic hierarchy. Here she formulates her influential critique of the “native speaker.” -
Violence, Torture, and the Wounded Subject
The Age of the World Target and The Wounded Subject extend her interest in violence—from the militarization of vision to the poetics of torture and suffering.
Commentators differ on which phase is most decisive, but many underline the continuity of her concern with how power operates through regimes of visibility, legibility, and interpretability.
5. Core Ideas: Visuality, Ethnicity, and Targeting
Chow’s work on visuality links race, ethnicity, and violence through the act of seeing. She argues that modern visual regimes—cinema, photography, satellite imaging, and surveillance technologies—do not simply record reality but help constitute subjects as visible and therefore targetable.
Visuality and Ethnic Spectatorship
In Primitive Passions and later essays, Chow develops the concept of ethnic spectatorship to describe how viewing practices are shaped by racial and ethnic positioning. She examines how Chinese films, for example, are made legible to Western audiences through what she calls “exoticist” framings, while also asking how ethnic/minority viewers relate ambivalently to these images.
“The demand that the ethnic subject be representative of an entire culture is itself a form of violence.”
— Rey Chow, Writing Diaspora (1993)
Proponents interpret this as extending from representation in discourse to representation in images: to be visually singled out as “ethnic” is to bear a representational burden. Some commentators read her work as a critique of multicultural consumption of difference; others emphasize her nuanced attention to the pleasures and attachments of spectatorship.
The “World Target”
In The Age of the World Target, Chow elaborates the notion of the world target to describe how the globe is rendered as a total object of visual and military targeting. She connects U.S. aerial bombardment, satellite imaging, and cinematic point‑of‑view shots, suggesting that contemporary visuality is organized by logics of targeting and preemption.
“To be seen is already to be targeted.”
— Rey Chow, The Age of the World Target (2006)
Some scholars view this as a development of critiques of the “world picture” (after Heidegger), now inflected by U.S. military technology. Supporters highlight its usefulness for analyzing drone warfare and surveillance culture; critics sometimes question whether the concept risks overgeneralizing all seeing as violent or underplays forms of counter‑visuality and resistant spectatorship.
Across these debates, Chow’s key claim is that ethnic and racial difference is not only spoken about but also visualized within regimes that conjoin aesthetics, knowledge, and the potential for physical or symbolic targeting.
6. Language, Translation, and the Critique of the Native Speaker
Chow’s later work centers on language as lived practice, developing the concepts of languaging and a critique of the native speaker ideal.
Languaging and Postcolonial Experience
In Not Like a Native Speaker, Chow proposes languaging to describe how speakers navigate multiple idioms, codes, and accents. Rather than treating language as a stable system or competence, she emphasizes its improvisational, embodied, and often anxious character for postcolonial and migrant subjects.
Proponents argue that this notion foregrounds the affective and political dimensions of speaking in a second (or third) language under conditions where “good” or “proper” language is normatively defined by metropolitan centers. It resonates with studies of accent, code‑switching, and linguistic insecurity in global Englishes and Chinese diasporas.
The “Native Speaker” as Institutional Fantasy
Chow contends that the native speaker is less an empirical figure than an institutional ideal:
“The figure of the native speaker is a fantasy of linguistic purity sustained by institutions of knowledge and power.”
— Rey Chow, Not Like a Native Speaker (2014)
She analyzes how language teaching, testing, and scholarship presuppose a pure, homogeneous linguistic subject against which bilingual and accented speakers are measured and often found wanting. This critique has been taken up in discussions of language policy, ESL pedagogy, and translation studies.
Supportive commentators link her argument to broader theories of epistemic injustice and to critiques of monolingualism. Some suggest that her work complicates the assumption that “native” speakers automatically possess authentic cultural authority, especially in area and cultural studies.
Critics, however, raise questions about the scope of her generalizations, asking whether some concept of nativeness remains pragmatically necessary for linguistic description or whether her deconstructive approach risks flattening important differences among speakers.
Nevertheless, Chow’s analysis has become a reference point for scholars examining how linguistic hierarchy intersects with race, class, and colonial history, and how translation and non‑native speech shape subjectivity in the contemporary world.
7. Gender, Postcolonialism, and the Wounded Subject
From her earliest work, Chow has examined how gender and postcolonial conditions intersect. Over time, this inquiry leads to her theorization of the wounded subject, a figure produced through representations of injury, torture, and suffering.
Gender and Chinese Modernity
In Woman and Chinese Modernity, Chow analyzes how women are positioned within discourses of modernization in Chinese literature and culture. She argues that female figures often serve as allegories of the nation or tradition, while women’s specific experiences are subordinated to broader narratives of progress or revolution. Scholars note that she both draws on and critiques Western feminist models, emphasizing the need to account for Chinese historical and cultural specificities.
Postcolonial Subjectivity and Representation
In Writing Diaspora and related essays, Chow analyzes the expectations placed on postcolonial intellectuals, especially women and ethnic minorities, to provide authentic testimony about their cultures. She links this representational burden to gendered stereotypes and to the commodification of “ethnic” experience in global academia and publishing.
The Wounded Subject
In The Wounded Subject: The Poetics of Torture in Modern Chinese Literature and Film, Chow extends her interest in subject formation under violence. She investigates how scenes of torture and injury in 20th‑century Chinese texts and films create a specific mode of subjectivity:
“The wounded subject is not simply a victim but a mode of subjectivity produced and circulated through modern regimes of representation.”
— Rey Chow, The Wounded Subject (2019)
Proponents highlight that this concept shifts attention from individual psychology to the aesthetic and political economies that privilege certain images of suffering. It intersects with debates on trauma studies, human rights discourse, and the ethics of witnessing.
Some scholars see continuity between this “wounded subject” and earlier feminist and postcolonial concerns about victimhood and agency. Others question whether the focus on representation risks underemphasizing material violence, or whether the category might universalize experiences that are historically and culturally specific.
Overall, Chow’s work in this area is frequently cited for showing how gendered and racialized bodies become legible in modernity through narratives and images of injury and endurance.
8. Methodological Contributions to Cultural and Area Studies
Chow has made influential methodological interventions in how scholars study culture, especially in fields such as Sinology, area studies, and comparative literature.
Critique of Traditional Sinology and Area Studies
Chow argues that Sinology and related area‑studies formations have often treated non‑Western cultures as stable, knowable objects tied to linguistic and archival expertise. Drawing on postcolonial critiques of Orientalism, she suggests that such approaches can reify “China” or “the East” as timeless entities and privilege native‑language mastery as the primary marker of authority.
Proponents claim that her work encourages self‑reflexivity in area studies, prompting scholars to examine how geopolitical conditions (Cold War funding, development agendas, security interests) shape what counts as legitimate knowledge about particular regions.
Theoretical Humanities and Provincializing Theory
Chow defends the importance of the theoretical humanities, arguing that theory should be “provincialized” not by abandoning it but by foregrounding its historical and geopolitical situatedness.
“Theory must be provincialized not by rejecting it but by insisting on the historical and geopolitical conditions of its production and reception.”
— Rey Chow, in The Rey Chow Reader (2010)
Supportive readings suggest that this stance mediates between universalizing European theories and calls for purely local knowledges, advocating a critical, located engagement with theory. Some critics, however, argue that her reliance on continental theory still grants it disproportionate centrality, while others worry that her deconstructive approach can be difficult to translate into empirical or archival research practices.
Rethinking Comparative Work and World Literature
In The Age of the World Target and essays on comparative literature, Chow examines how comparative frameworks can reproduce hierarchies by treating certain cultures as targets of analysis rather than as coeval producers of theory. Her reflections on comparative work and world literature have been mobilized in debates about canon formation, translation asymmetries, and the Anglophone dominance in global humanities scholarship.
Methodologically, commentators credit her with:
- Insisting on the intertwining of textual/visual analysis with institutional critique.
- Treating the positionality of the critic (ethnic, linguistic, geopolitical) as integral to method.
- Linking media technologies (film, digital imaging) to forms of scholarly knowledge.
Together, these contributions shape ongoing discussions about how to study cultures across linguistic and political divides without reproducing colonial or nationalist paradigms.
9. Impact on Philosophy and Critical Theory
Although based outside philosophy departments, Chow has exerted significant influence on philosophical debates, particularly in continental, postcolonial, and media theory circles.
Visuality, Surveillance, and Violence
Her concept of the world target has been cited in discussions of surveillance, drone warfare, and the phenomenology of perception. Philosophers and media theorists use her work to explore how contemporary seeing is entwined with militarized technologies and preemptive logics of security. Some read her as extending or complicating Heidegger’s analysis of the “world picture,” while others link her to biopolitical and necropolitical strands of thought.
Language, Subjectivity, and Epistemic Injustice
Chow’s critique of the native speaker intersects with philosophical inquiries into language and power. Scholars working on epistemic injustice, linguistic discrimination, and global Englishes draw on her notion of languaging to argue that non‑native and accented speakers are structurally disadvantaged as knowers and participants in public discourse. Her focus on how institutions authorize certain speech as “proper” informs broader reflections on recognition and authority.
Postcolonial and Feminist Theory
In postcolonial philosophy and feminist theory, Chow is often discussed alongside Gayatri Spivak, Homi Bhabha, and others, especially regarding representation, subalternity, and the politics of voice. Her analyses of the burdens placed on minority intellectuals and on the wounded subject contribute to ethical debates about testimony, victimhood, and the commodification of suffering.
Debates and Critiques
Supporters emphasize that Chow’s work helps reorient philosophy and critical theory toward issues of race, media, and institutional power, broadening what counts as a philosophical problem. Critics sometimes contend that her dense style and heavy use of continental theory can obscure empirical complexities, or that her emphasis on representation risks downplaying material conditions.
Nonetheless, her concepts—visual targeting, ethnic spectatorship, languaging, native‑speaker critique, wounded subject—have become part of the conceptual toolkit for philosophers and theorists grappling with contemporary forms of globalized power, perception, and subject formation.
10. Legacy and Historical Significance
Commentators generally agree that Rey Chow occupies a prominent place in late 20th‑ and early 21st‑century critical theory, particularly at the intersection of postcolonial studies, visual culture, and comparative literature.
Reorientation of Sinology and Chinese Studies
Within Chinese and East Asian studies, Chow is regarded as a key figure in moving the field beyond traditional philological and civilizational models toward theoretically informed, politically attuned analyses. Her work has influenced a generation of scholars who combine close engagement with Chinese texts and films with postcolonial, feminist, and media‑theoretical frameworks.
Contribution to Global Humanities and Theory
In the broader humanities, she is frequently cited as part of efforts to “globalize” or “provincialize” theory by bringing non‑Western experiences—especially Chinese and diasporic—into dialogue with European thought. Her concepts have traveled into fields as diverse as film studies, anthropology, translation studies, and political theory, shaping how scholars think about racialized visibility, linguistic hierarchy, and the ethics of representation.
Institutional and Disciplinary Impact
Chow’s career at major research universities, along with edited collections such as The Rey Chow Reader, has helped consolidate her influence. Her arguments about the theoretical humanities and about the futures of area and ethnic studies play into ongoing institutional debates over the value and direction of these disciplines in an era of budget cuts, STEM prioritization, and demands for curricular diversification.
Ongoing Reception and Controversy
Her legacy remains dynamic and contested. Admirers emphasize her originality in linking media, war, and theory, and in articulating the experiences of bilingual and racialized subjects. Critics question aspects of her method, including her reliance on European theory and the perceived abstraction of some arguments.
Despite these disagreements, assessments of late 20th‑century critical theory routinely include Chow among the influential figures who redefined how scholars approach culture, power, and difference, particularly from vantage points that straddle “West” and “non‑West,” text and image, language and violence.
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@online{philopedia_rey_chow,
title = {Rey Chow},
author = {Philopedia},
year = {2025},
url = {https://philopedia.com/thinkers/rey-chow/},
urldate = {December 11, 2025}
}Note: This entry was last updated on 2025-12-10. For the most current version, always check the online entry.