Presentation on theme: "M. Butterfly I. Orientalism and Stereotype of Oriental women"— Presentation transcript:
1 M. Butterfly I. Orientalism and Stereotype of Oriental women II. Relationship between Gallimard and SongIII. Sexual Politics
2 I. Orientalism1. A regularized manner of writing, vision and study dominated by ideological biases suited to the orient. (source)2.The image of the ‘Orient’3. Not a school of thought; a form presented in arts and researches by the occident.
3 The Image of the ‘Orient’ West Eastsubject objectMasculinity FemininitySelf ‘other’strong weak
4 Asian Portrayed in Media Early: Fear for Asian immigrantsevilPost World War II: Japanese as the evil imperialist; Chinese as the innocent victims and diligent farm people.Vietnam War:Vietnamese as the evil Asian; greedy, vicious.
8 Contemporary Image of Chinese Corrupted legal system and government(e.g. Red Corner, Spy Game )Old, refuse the outside world and changes(e.g. Red Corner)Full of beautiful women (feminine image)(e.g. Rush Hour 2)Exotic; dragonEveryone knows martial art; long, narrow eyes and thin eyebrows; 著中山裝及旗袍(e.g Charlie’s Angel, Rush Hour, Red Corner)
9 Stereotype on Oriental Women Image of ‘farm women’:PassiveQuiet; never quarrelDevoted (to family, love, etc.)Diligent; endure hardshipHumble; tenderImage of ‘whore’:Born to please men ( great sexual techniques)Cannot resist white menProstitutes
10 Examples of Oriental Women’s Image (The ‘farm women’) Miss SaigonKim as a poor, orphaned prostitute, was saved from the brothel by an American GI Christopher.They got separated in war. Kim awaited patiently, without any complaint for three years. She is devoted to her child and her husband.
11 Example of Oriental Women’s Image (‘Whore’) The world of Suzie WongSome films concerning the Vietnam War.Miss Saigon (girls other than Kim)Image source: left, right
12 Icon 宗毓華 (Connie Chung) Airline ads of Asian flight attendants Exotic anchorwomanOther female, Asian anchorwomen are asked to dress like Connie ChungAirline ads of Asian flight attendantsAlways bowing to customersSubject and subordinate to a comfortable, luxurious service.Image source
14 II.Relationship between G & S 1. a. How does Song present herself as anOriental woman?b. How does Gallimard reinforce hismasculinity from Song?2. Role switching of Song and Gallimard.
15 S’s Oriental Woman toward G/ G’s Masculinity from S (1) 1) German Embassy—p.16-17S: anti-Orientalism/approaches G, calling him a white man/invite G to expand his educationG: attracted by S’s criticism about Madame Butterfly2) Chinese Opera House/Streets of Beijing—pp.20-22S: showing her suggestivenessI too can distance myself from my people./How I wish there were even a tiny café to sit in./But sometimes…sometimes, it is mutual.G: Started puzzling (coz’ women do not flirt with him)
16 S’s Oriental & G’s Masculinity (2) 3) S’s calling for G in the early morning—pp.26-27S: ask for G’s forgiveness/invite G going to opera house4) S’s apartment for the 1st time—p.27G’s thirst intensifiedG: She is outwardly bold and outspoken, yet her heart isshy and afraid. It is the Oriental in her…/ Though theidea is almost beyond belief, I believe she is afraid ofme.
17 S’s Oriental &G’s Masculinity (3) 5) S’s apartment for the 2nd time—pp.28-31S: Entertaining G (=a gentleman)/China is a nation whose soul is firmly rooted twothousand years in the past… even pouring the tea foryou now…has implications… Even my own heart,strapped inside this Western dress./You are from France.You see so many beautiful women.I feel…I am not myself…Hard as I try to be moderate,to speak like a man, to hold a Western woman’s strongface up to my own…in the end, I fail/I’ve never…never invited a man up to my flat before.G: …she does—she feels inferior to Western women—andto me
18 S’s Oriental & G’s Masculinity (4) 6) G’s experiment on S—p35S’s letters to G☆ 5th weekMy audience miss the white devil in their midst.☆ 6th weekSometimes I hate you, sometimes I hate myself, butalways I miss you.☆ 7th weekDon’t bother to call. I’ll have you turned away at thedoor.☆ 8th weekI can hide behind dignity no longer. What do you want?I’ve already given you my shame.
19 S’s Oriental &G’s Masculinity (5) 7) Immediately after G’s promotion—pp.39-40G: asks S to confess herself his ButterflyS: admits to be the Butterfly/I’ve tried to appear experienced, but the truth is no.Please…it all frightens me. I am a modest Chinese girl.…Though inexperienced, I am not ignorant. They teachus things, our mothers, about how to pleasing a man.I ‘ll do my best to make you happy.---end of Act I8) Butterfly’s flat—pp.43-44S: I want to know what you know. To be impressed by myman…you’re making decisions which change the shapeof the world.
20 S’s Oriental & G’s Masculinity (6) 9) G’s loss of power(1): Helga—pp.49-51S: promises G to have him a son, but not being his wife/Reconfirmation of G’s masculinityPromise me…you won’t go to the doctor. Who is thisWestern quack to set himself as judge over the man Ilove? I know who is a man, and who is not.10) G’s loss of power(2): Renee—pp.52-55Renee’s comments on the “winnie”(R:small;G: young)G: But is it possible for a woman to be too uninhibited,too willing, so as to seem almost too…masculine.She knew the secret I was trying to hide…she didn'tconfront me, threaten me, even put.
21 S’s Oriental &G’s Masculinity (7) 11) G’s loss of power(3): Toulon—pp.58After the talk with Toulon about assassination ofPresident Diem, G goes to S as “a vessel to contain [his]humiliation.12) The Cultural Revolution—p.67S: promises to raise the baby herself and causes noburden for G outside of China
22 Role Switching S and G sing Love Duet at the same time--p.41 Implication: S as both Butterfly and PinkertonS: In the crush of your adoration, I thought you’d become something more like…a woman.G: I’m already sorry. Exactly…as sorry as a Butterfly.--pp.90-91 Confusion: Who the Butterfly isG’s suicide and S stares at G’s dead body/S’s searching for Butterfly--p.93 Clarification: S as Pinkerton G as Butterfly
23 III. Sexual Politics (1) Act 1 Scene 9 G’s dream talking with Marc --p.25M:…she must surrender to you. It’s her destiny. the East must surrender to the WestScene 12 G’s promotion to Vice-Consul--pp.37-38 Toulon needs G’s inside knowledge of ChinaAct 2Scene 3 G: The Orientals simply want to be associated with whoever shows the most strength and power….Deep down, they miss the old days….Orientals will always submit to a greater force. --pp.45-46
24 Sexual Politics (2)Act 2Scene 6 G: I tell the Americans, Diem must go….Oriental women—when they’re good, they’re very good, but when they’re bad, they’re Christians.--p.52Act 3Scene 1 S: West’s rape mentality--pp.82-83 West as masculine/powerful; East as feminine/weakAfterwordImperialism Formula:Good natives of both sex take up “feminine characteristic”.