데이비드 헨리 황의 『엠. 나비』: 제국주의적 환상 깨뜨리기
David Henry Hwang’s M. Butterfly: Breaking Imperialistic Fantasies.
1
조회
0
다운로드
2
인용
0
참고문헌
키워드
초록
David Henry Hwang, a Chinese-American playwright, shows that imperialistic fantasies exist between the West and the East in his best play, M. Butterfly(1988). These fantasies are formulated in ideas such as the West considering the East as a woman and Western men thinking Eastern women to be submissive, modest and shy. These stereotypes of the Orient and Oriental women originate from Orientalism. Hwang thought that Westerns have imperialistic fantasies about the East and such typical cultural prejudices can be found in Giacomo Puccini's opera Madame Butterfly (1904). He tries to reverse the basic structure of Madame Butterfly in M. Butterfly. In the opera Pinkerton is a cruel white man and Cho-Cho San (Butterfly) is a submissive Japanese woman who sacrifices herself for the love of a worthless western man. Rene Gallimard, hero in M. Butterfly, a French diplomat in China meets Song Liling, a Peking opera singer. Gallimard considers himself as Pinkerton and that Song is like Cho Cho San. However at the end of the play, Song turns out to be a man as well as a spy who passed critical information on to China from Gallimard. Finally, Gallimard realizes that he is a Butterfly and Song is Pinkerton and commits hara-kiri. Hwang tries to break imperialistic fantasies through such issues, as Song an Oriental man acting as an Oriental woman, transvestism, and reversal of roles. Hwang aims to demolish the stereotypes of Asian Americans and to find the proper identity of Asian Americans. It is doubtful that Hwang succeeded in achieving his initial aims, but he contributed to causing white American audiences to be more interested in various kinds of problems between the West and the East.
Abstract
David Henry Hwang, a Chinese-American playwright, shows that imperialistic fantasies exist between the West and the East in his best play, M. Butterfly(1988). These fantasies are formulated in ideas such as the West considering the East as a woman and Western men thinking Eastern women to be submissive, modest and shy. These stereotypes of the Orient and Oriental women originate from Orientalism. Hwang thought that Westerns have imperialistic fantasies about the East and such typical cultural prejudices can be found in Giacomo Puccini's opera Madame Butterfly (1904). He tries to reverse the basic structure of Madame Butterfly in M. Butterfly. In the opera Pinkerton is a cruel white man and Cho-Cho San (Butterfly) is a submissive Japanese woman who sacrifices herself for the love of a worthless western man. Rene Gallimard, hero in M. Butterfly, a French diplomat in China meets Song Liling, a Peking opera singer. Gallimard considers himself as Pinkerton and that Song is like Cho Cho San. However at the end of the play, Song turns out to be a man as well as a spy who passed critical information on to China from Gallimard. Finally, Gallimard realizes that he is a Butterfly and Song is Pinkerton and commits hara-kiri. Hwang tries to break imperialistic fantasies through such issues, as Song an Oriental man acting as an Oriental woman, transvestism, and reversal of roles. Hwang aims to demolish the stereotypes of Asian Americans and to find the proper identity of Asian Americans. It is doubtful that Hwang succeeded in achieving his initial aims, but he contributed to causing white American audiences to be more interested in various kinds of problems between the West and the East.
참고문헌 (20)
- 사이드, 에드워드, "문화와 제국주의" (1993), 문예출판사
- 사이드, 에드워드, "오리엔탈리즘" (1999), 교보문고
- 자하르, R․, "프란츠 파농 연구" (1981), 도서출판 한마당
- 최성희, "다문화주의의 허와 실--아시아계 미국 드라마에 나타난 양상을 중심으로", 영어영문학, 52(1), pp.3~30 (2006), 한국영어영문학회
- 파농, 프란츠, "검은 피부, 하얀 가면" (1995), 인간사랑
- 파농, 프란츠, "대지의 저주받은 사람들" (2004), 도서출판 그린비
- Bryer, Jackson R., "The Playwright’s Art: Conversations with Contemporary American Dramatists" (1995), Rutgers UP
- Chang, Williamson B. C., "M. Butterfly: Passivity, Deviousness, and the Invisibility of the Asian-American Male in : Bearing Dreams, Shaping Visions: Asian Pacific American Perspectives", pp.181~184 (1993), Washington State UP
- Eng, David L., "Racial Castration: Managing Masculinity in Asian America" (2001), Duke UP
- Hwang, David Henry. M., "Butterfly" (1989), Penguin
- 강현민, "Unmasking the Colonial Politics of Violence: David Henry Hwang’s M. Butterfly", 현대영미드라마, 18(1), pp.23~46 (2005), 한국현대영미드라마학회
- Lee, Josephine, "Performing Asian America" (1997), Temple UP
- Lin, Hsiu-Chen, "Staging Orientalia: Dangerous ‘Authenticity’ in David Henry Hwang’s M. Butterfly", Modern Drama, 9, pp.26~35 (1997)
- Loo, Chalsa, "M. Butterfly: A Feminist Perspective in : Bearing Dreams, Shaping Visions: Asian Pacific American Perspectives", pp.177~180
- Lye, Colleen, "M. Butterfly and the Rhetoric of Antiessentialism: Minority Discourse in an International Frame in : The Ethenic Canon: Histories, Institutions, and Interventions", pp.260~289 (1995), U of Minnesota P
- Moy, James S., "Marginal Sights" (1993), U of Iowa P
- Moy, James S., "David Henry Hwang’s M. Butterfly and Philip Kan Gotanda’s Yankee Dawg You Die: Repositioning Chinese-American Marginality on the American Stage in : Critical Theory and Performance" (1992), U of Michigan P
- Remen, Kathryn, "The Theatre of Punishment: David Henry Hwang’s M. Butterfly and Michel Foucault’s Discipline and Punish", Modern Drama, 37, pp.391~400 (1994)
- Shimakawa, Karen, "‘Who’s to Say?’ Or, Making Space for Gender and Ethnicity in M. Butterfly", Theater Journal, 45, pp.349~361 (1993)
- Timpane, John, "David Henry Hwang: Interview by Marty Moss-Coane in : Speaking on Stage: Interview with Contemporary American Playwrights" (1996), U of Alabama P