Pearl S Buck's "The Good Earth" occupies an ambivalent status among the classic literary canons. On the one hand, it is a humanitarian masterpiece glorifying the value of Chinese people's stamina surviving through fin-die-siècle; on the other hand, it is an ideological propaganda that facilitated the collaboration between China and United States during the World War II. However, it has been devalued by postcolonial critics as a piece of work that contains many Oriental stereotypes in two-dimensions - a propaganda of an imaginary East that patronizes the Western superiority according to Edward Said's "contractual dualism."Somehow "The Good Earth" is the first literary piece that introduced the Chinese condition to the world, and it was the first work of global sinology. The story of Chinese farmer Lung Wang shapes the image of Chinese male as "the effeminate chauvinist" whose existence entirely depends on the exploitation of his wife, who is "The Good Earth" that feeds and nurtures all without asking anything in return. Taiwanese scholar Lung-chi Song terms the making of Chinese manhood, from the Western perspective, is a process of regression because Chinese man never leaves his mother and spends his whole life under the control of his mother then his wife. It contradicts the notion of Western manhood, where man departs home to validate the caliber of manhood with the conquest of a new territory of his own.Roland Barthes mentions the example of the oriental actor of age fifty playing a woman of flowery youth in "The Written Face" of his book "Empire of Signs" that the Oriental theatrical face is a signifier which "dismisses the signified" as the transvestite actor "does not play the woman, or copy her, but only signifies her." Woman becomes an idea of artifice basing on her "pure differences." Buck's Chinese woman character has become de-naturalized as Barthes' "the refinement of the codes," which might confirm to Susan Sontag's definition of Camp-"love of the un-natural: of artifice and exaggeration." Here oriental theatrical face is an embodiment of Camp-a signifier devoid of the signified. "The Good Earth" can no longer represent the Chinese after the passing of time. Now it was an obsolete icon that renders the ideology of yesterday.At last, Benedict Anderson notes that language is the key medium to create a sense of national identification between people in "Imaginary Communities", and the use of the same language induces a feeling of synchronicity. Pearl S Buck wrote "The Good Earth" in English, which manages to gather the worldwide attention to the Chinese issue through the evocation of an English-speaking imaginary community. Perhaps the studies of Sinology in the age of globalization transcend the ideological shackles of Said's Orientalism and (according to Barthes and Sontag) become an aesthetic gesture of cultural differences instead.