David Henry Hwang’s “M Butterfly” illustrates the misconceptions western society has about gender and race. Gallimard, a French diplomat has a twenty-year affair with Song, a Chinese diva. Song represents a fabricated rendition of an Asian woman considering that she is actually a man who works as a spy for the Chinese government. This revelation clearly exemplifies that Gallimard’s love for Song is about Western superiority and power over Asian women. Through Judith Butler’s lens of gender performativity in “Imitation and Gender Insubordination,” the construct of gender roles imposed by western society becomes a crucial element for understanding Gallimard’s obsession with Song. Although Song is a man his performance wearing women’s clothing and makeup to appear feminine is comparable to drag performances. Butler explains that drag culture is not outlined by one’s sexuality saying, but “Drag constitutes the mundane ways in which genders are appropriated, theatricalized, worn, and done; it implies that all gendering is a kind of impersonation and …show more content…
In Edward Said’s “Orientalism” he explains that through cultural hegemony, Europeans gained strength and identity by perceiving themselves as superior compared to the Orient (7). This concept is implied in Song’s statement to the judge when she says “the west thinks of itself as masculine-big guns, bugs industry, big money- so the east is feminine- wake, delicate, poor…but good at art, and full of inscrutable wisdom- the feminine mystique”(83). The West has misconceptions that the west is masculine and superior while the east is feminine and superior. Song defies these stereotypes considering he is a Chinese man that deceived the French and lead to the imprisonment of Gallimard by acting like a submissive Asian
(1800)Topic 2: A Literary Analysis of the Historical Differentiation of Patriarchal Culture and Female Gender Identity in the Memoirs of Lady Hyegyong and the Tale of Genji
The united States Declaration of independence states that all men are equal, but aren’t all women as well? Nowadays, the numbers for the population are at an increase for the support in gender equality, with the capture of feminist labels. The seek for equality between men and women, and criticize the privileges that arouse by gender differences. However in Old China, males control almost everything due to a patriarchal society. At that time, not only men, but also women are influenced by male chauvinism. In the Jade Peony, written by Wayson Choy, female characters are affected by an unequal perspective despite their age group.
The way M butterfly shows gender can very clearly be seen as the play moves on. When song Liling and Comrade chin are discussing about how men play women parts Liling says” No, its because only a man knows how a woman is supposed to act”. A statement that says that the man knows a real women one that is submissive to him and that is what liling gave song take the time when Gillard and song were talking and liling says “ its one of you’re favorite fantasies isn’t it? The submissive oriental women and the cruel white man”. By this Liling is pointing out the gender difference’s between men and women during that time white women were considered more outgoing than Chinese women thus when galliard finds liling he thinks he has found a women of his fantasies a women h can have as a mistress but she will not tell his wife only be submissive to him. Rene Gillard fantasied of being a true man because they did not consider Chinese men, Real men or masculine during the scene when song and the judge are talking songs says “Her eyes say yes but her mouth says no, the west thinks of itself as masculine big guns big industry while the east is feminine weak d...
When one thinks of any cultural group, racist and, in some cases, sexist stereotypes that have permeated society may come to mind. Yet do these stereotypes accurately depict the people of this cultural group and if not how do these stereotypes affect these people? As a people it is easy to become disillusioned by the labels their group is given. The people then become less proud of their culture even though the way their culture is labeled is racist and false. Hurston’s audience witnesses this when Tea Cake is forced to bury the dead after a hurricane. He tells Janie how uncomfortable he feels around the white people he is unfamiliar wit...
Who is stronger? The East or the West? Do the Oriental people truly succumb to the threats of the western white man? Based on the views of the non-oriental people, the Oriental people secretly want to get dominated by a stronger force, comparing them to a woman, or just simply calling their race feminine. The show M. Butterfly by David Henry Hwang is able to express different issues regarding the theory of Orientalism by hiding it amongst several conversations between characters. The play can be seen as highly political because of topics it chooses to discuss despite the fact that the lead character is a diplomat. Though somewhat unrelated; M. Butterfly can even have a certain Brecht-esque quality to it. Because it contains several moments that can make the audience member question what is going on and the story itself, Brecht would be happy. The show can confuse the audience and make them think. Gallimard and Song also talk to the audience directly at certain points which in a way can distance them from the story because it can make it known that they are, indeed watching a play. M. Butterfly holds many political and Brechtian qualities that prove many issues that go on today. Seeing these representations of foreign races views on one another can hopefully help to get the countries to realize their harsh judgments.
The issue of cultural stereotypes and misconceptions thematically runs throughout David Henry Hwang’s play M. Butterfly. The play is inspired by a 1986 newspaper story about a former French diplomat and a Chinese opera singer, who turns out to be a spy and a man. Hwang used the newspaper story and deconstructed it into Madame Butterfly to help breakdown the stereotypes that are present between the East and the West. Hwang’s play overall breaks down the sexist and racist clichés that the East-West have against each other that reaffirm the Western male culture ideas. The stereotypes presented in the play revolve around the two main characters, Gallimard and Song. The play itself begins in the present with Gallimard, a French diplomat who has been incarcerated in a Beijing prison. He relives his fantasies for the past with his perfect woman and shares his experience with the readers throughout the remainder of the play. Upon Gallimard’s arrival in China, he attends the opera and meets Song, and Gallimard immediately describes Song as his “butterfly”. Gallimard falls in love with the “delicate Oriental woman” that Song portrays (22). He then buys into the Western male stereotype that Eastern women need protection by strong, masculine Western men. Gallimard ends up falling in love with Song and has an affair with her to fulfill the stereotypical idea of a dominant Western male controlling an Eastern woman. Throughout Gallimard’s relationship with Song, the readers discover that Song is in reality a male spy for the Chinese government. Song had manipulated his looks and actions to mirror those of the ideal Chinese woman in order to earn Gallimard’s affection. M. Butterfly’s main issue arises from the cultural stereotypes of the masculin...
She is petite, submissive, and great in bed, the perfect combination for the perfect woman. Yellow fever is the psychological inclination towards Asian women that has been expressed by a portion of the male population. This stereotype is a part of orientalism that continues to be discussed amongst today’s society; it is deemed odd or labeled as a fetish. M. Butterfly, a Tony Award playwright written by David Henry Hwang, consists of ideas related to orientalism through the layers developed in gender identity, global politics and art forms. The play begins in the present 1988 with Rene Gallimard sitting in a Paris prison.
The biological differences that set apart the male and female gender throughout any culture remain eminent. Men are perceived as the stronger and dominant gender; women play the role of the weaker. In each culture the expectation of the manner in which men and women behave are influenced by the ideals and customs of that culture. In most predominant cultures, the man undertakes the role as a leader, and the woman devotes her life to the husband. Throughout history, traditions and literature provide a template to the identities of various cultures. Sleeping Beauty’s classic tale of a beautiful princess takes a central precept that previous patriarchal archetypes dominated during the 17th Century. The archetypal perceptions of women resulted from conscious and unconscious literature influenced by male-dominated perspectives and social standards.
Though many of these stereotypes seem unwarranted, some stem from a historical background of Asian discrimination. For centuries Asians were viewed as “oriental” because of the apparent difference between Western and Eastern cultures such as choice of clothing and pronunciation of native languages. In doing so, many individuals were mystified by the mysterious and foreign Asian customs. Consequently, Americans treated Asians as if they belonged to a lower social class. With the ongoing disparagement of Asians, women faced much of the prejudice; “the few women who did emigrate to America were harassed through legislation and stereotyped as prostitutes or objects of white male sexual fantasies” cite. As a result, the perceptio...
...able they really are with overtly racist stereotypes; and even with all the “human right”’ movements that spring about there is still the need for long-lasting solution against combating prejudices. By displaying stereotypes jokingly, especially ones that pertained for the Asian population, Yang proves not only do people hold prejudice against other groups with his examples of Asian stereotypes, but that stereotypes are still prevalent in today’s society.
At the end of the play M. Butterfly, a jailed French diplomat turned spy named Gallimard says, "There is a vision of the Orient that I have" (Hwang 3.3.7). In that moment he is implying that there are still beautiful women, as he thought his "Butterfly" was. This is suggestive of the colonial appeal. Colonization is made possible by one society characterizing another in a way that makes it seem like a good idea. The characterization of these cultures, such as the Orient or Africa, is carried out through literature, works of art, and drama. Certainly, plays, poems, books, and stories are only a few of the ways used to convince the masses of a modern nation of the justification to colonize. If one wants to rebel against colonization, one would need to place corruption upon the colonizer so to support the liberation. This approach looks to be accepted in drama, where there are two excellent illustrations of postcolonial literature, M. Butterfly by David Henry Hwang, and A Tempest by Aime Cesaire. Both plays are re-worked versions of and Puccini's opera, Madame Butterfly and Shakespeare's The Tempest, and retain similar characters and basic plots. Shakespeare's and Puccini's works created symbols of other cultures. Caliban is the black devil, and Cio-Cio San is the timid and beautiful "Butterfly." These symbols have become stereotypes in Western culture, and formed, the justification for colonization.
Throughout the play, Gallimard frequently referred to Song by the name of “Butterfly”, as he viewed “her” as his own version of the sacrificial lover. However, it is Gallimard, not Song, who completes the ironic progression by committing suicide for the lover he has lost. Hwang’s use of this full on role reversal in his ending is the ultimate destruction of Gallimard’s assumption of male superiority. As Gallimard’s world comes crashing down, and he chooses to die as a female, the belief in male supremacy is eradicated along with him. Hwang has shown once and for all that masculinity deserves none of the privilege society has granted it.
French feminist criticism concerns itself with the objectification of women, and examples abound in Two Kinds. From the beginning, Jing-mei’s mother pushes her to be a prodigy partially for reasons of pride and competition. Jing-mei’s Auntie Lindo has a daughter who is a national chess champion, and Auntie Lindo never fails to remind anybody of the fact. When discussing their daughters, both Auntie Lindo and Jing-mei’s mother make no mention of their character, only bragging about their level of “genius”. Ironic as it sounds, they are objectifying their daughters and using them as status symbols, no different from flaunting a new car or gadget. On the other hand, American feminist criticism focuses on the victimization of women, a victimization that is apparent in Two Kinds. Though at first glance, Jing-mei’s mother may seem like the antagonist in the story, when one considers her backstory it is apparent that she just wants her daughter to have the life she never had. The mother lost everything when she moved from China to San Francisco in 1949. In China she lost her family, her spouse, and she had to abandon her twin baby girls. She had a very difficult life in a society that was even more hostile to women than post-World War II America. Finally, there is the Female Subtext form of criticism, which focuses on minor female characters. The minor female characters in this story are Aunt Lindo and her daughter Waverly, two toxic characters that represent the opposite of what feminism stands for. Aunt Lindo drones on about how great her daughter and remarks about how she is obsessed with chess with mock disgust. Waverley herself is no saint, as she brags about her level of genius while belittling Jing-mei after her piano recital fiasco. This is strikingly similar to how men looked down upon women as subhuman for most of history. All in all, Two Kinds is
At the center of Japanese and Chinese politics and gender roles lies the teachings of Confucius. The five relationships (五倫） of Confucius permeated the lives of all within the Heian and Tang societies.4 However, the focus here will be on the lives of the courtesans. The Genji Monogatari provides us with an unrivalled look into the inner-workings of Confucianism and court life in the Heian period. Song Geng, in his discourse on power and masculinity in Ch...
The lyrics of music play an important part of interpreting the meaning of the song. The roles which women have been allowed by the society to embody have changed drastically. Women may question their roles because of what they see portrayed by popular culture or media. Change in female’s identity can be seen in how women are viewed or how they portray themselves in popular culture specifically through music. In general, music continues to...