頁籤選單縮合
題名 | The Death of M. Butterfly= |
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作者 | Cheng,Yu-hsiu; |
期刊 | Tamkang Review |
出版日期 | 19970600 |
卷期 | 27:4 民86.夏 |
頁次 | 頁569-582 |
分類號 | 852.26 |
語文 | eng |
關鍵詞 | Cultural industry; Ideology prison; Stereotypes; Negative dialectics; Orientalism; Misconceptions; |
英文摘要 | M. Butterfly ends with the death scene, the same as Madame Butterfly. It seems David Henry Hawng did not utterly deconstruct this opera. As a matter of fact, Hwang endows this scene with special significance. The tragic ending implies that to understand each other, make firends and peacefully live together, people both in the East and the West have to utilize negative dialectics to clear through the stereotypes produced time and again by the cultural industry (Adorno) and to combat misconceptions inscribed in Orientalism (Said). without a doubt, Madame Butterfly is a Westerner's wish-projection of an ideal Oriental woman (Kerr); the opera shows a sense of racial supremacy and imperialist mentality in that it describes how a submissive Oriental girl is bought by a cruel white man, loves him unconditionally, waits for him for a long time (three years) but is abandoned an then sacrifices her life for love. The relationship between the East and the West inevitably involves ideology and the desire of domination. Madame Butterfly, as a cultural product, tends to perpetuate the misconceptions it contains and to feminize the Orient as the opera has been performed repeatedly for nearly a century. M. Butterfly shows up as a countering play, which, in a sense, tries to break through these misunderstandings even though it takes the risk of giving the audience an opposite and cunning image of the “inscrutable Oriental.” It, however, constructively enlightens us to get out of the prison of false ideas and to avoid a tragic ending. |
本系統之摘要資訊系依該期刊論文摘要之資訊為主。