Documenti di Didattica
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Taina Morales
Professor Batty
English 102
Due: 10/18/17
Man and Woman, East and West, Hetero and Homosexual. Those are just a few
of the binaries that help us perceive the world around us. Though there are instances that
require a polar opposition, life, and our human experiences are far from binary. Whether
while interpreting works of literature, the genders we identify with, or even cultural
For decades artists have broken, and challenged this binary ideology through their work.
David Henry Hwang is one of those artists. To most sitting in the audience, or who read
Hwangs M Butterfly, one could make the quick assumption that on the surface, this play
tells the story of love and betrayal between a French diplomat and Chinese spy disguised
as a woman. However, I argue that through the lens of both a post-colonialist, and a
queer-theorist-Hwangs deeper purpose for writing M Butterfly promotes and also brings
culture; gender roles, and identity; and the stigma of oriental femininity and masculine
Western colonialism.
ideologies that are both practiced and challenged in M Butterfly. Rene Gallimard, a
French politician who since adolescence has struggled to identify with heterosexuality. In
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his younger years, Gillmard did not engage in many heterosexual experiences like his
fellow peers. In fact, Gallimards first sexual encounter was set up for him by his friend
participation, Gallimard lusts for femininity In Act Three, Scene Three Gallimard
expresses to song, Im a man who loved a woman (3.3.1). Its easy to assume that
Five, Gallimard bring us to question whether his lust for femininity, is just a disguise for
his lust in having power over women; patriarchy. Patriarchy, as Rochelle L. Dalla defines
institutionalized power relationships that give men power over women. (Dalla, 2017). In
Act One, Scene Five, Gallimard describes the first instance in which he stumbles upon
heterosexual porn at his uncles house: The first time I saw them in the closet all lined
up-my body shook. Not with lust-no, with power. Here were women-a shelfful-who
would do exactly as I wanted. (1.5.18-21). These were the first moments in the play that
Gallimard appears to long for dominance over women than the women themselves.
play. We are able to depict this through what Song tells Gallimard in Act One, Scene Ten
while pouring his tea, China is a nation whose soul is firmly rooted two thousand years
describes ancient China as a place were The Chinese, in the ancient time women whose
social status was relative-ly low were subordinated, even attached to men as in the
Chinese tradition the woman was regarded as a person of the lowest status, a sexual
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object, etc., the gender-based discrimination. (Jai, 2015) Ancient patriarchal ways in
oppressing women are seen in the how which Pinkerton devalues, and treats his Chinese
bride, and views almost all Oriental women in Act One, Scene Three. These are just a
few examples of how M Butterfly can be seen to promote traditional power dynamics
identity are the major themes in which this play is rooted. Not only do we have Song
whose mission in the Chinese communist party involves switching back and forth
exhibit the societal gender roles that are required of the gender he identifies with. In an
2015 Online Edition Research Starters: Sociology, Gender Roles Ruth A. Wienclaw
states that we may be more open to exceptions than were past generations, there still
are expected norms of behavior for women and men in society (Wienclaw, 2015). These
expected societal norms like Wienclaw states, play a huge part in how we identify
ourselves in society. We are socialized to identify women as the gender who wears
dresses, while men wear suits. Song challenges those gender roles by continuing to wear
the clothes of a Chinese woman, even when he steps out of his Butterfly character.
However, like the oriental mindset in the 1960s-Comrade Chin reminds Song of the
gender roles expected from the men of China. In Act Two, Scene Four, Chin finds Song
still dressed as Butterfly, breaking the gender roles of a Chinese man, which leads Chin
Chin: Like that dress! Youre wearing a dress. And every time I come here, youre
wearing a dress
wear clothes that step outside of the social norm for men, Chin automatically relates Song
as being a homosexual.
attempt to separate sex from gender. Much like Song was born a man, but becomes the
woman Butterfly- Simone de Beauvoir, whos famous quote One is not born but rather
becomes a woman. from her book The Second Sex-support the queer-theory by which
becoming a woman, and being born a female are two different things. A queer-theorist
would argue that our gender identities are a result of the social construction of identity
that we relate to the most. At times these gender identities challenge the gender binaries-
such as being gender queer, or genderless. Ironic that Simone de Beauvoir was also
French like Gallimard-a feminist, and social theorist. Keeping in mind the works
Beauvoir, Song challenged the concept of gender identity towards the end of the play in
Act Three, Scene Two. After revealing himself to Gallimard as a biological man, then
attempts to make him understand that despite his biological sex, he is still his Butterfly.
Not only does this concept of separating gender from sex challenge Gallimard, but he
also tells Song I think you must have some kind of identity problem. (3.2.17)
traditions.
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into question traditional power dynamics through the stigma of oriental femininity and
masculine Western colonialism. The idea by which the East and West take on a gender
identities, and promote the tradition power dynamic of femininity (Eastern nations)
promotion of a Western-colonialist mindset first presents itself in Act One, Scene Three
when Pinkerton describes oriental women to Sharpless and Gallimard. Not like
American girls. Its true what they say about the Oriental girls. They want to be treated
bad! (1.3.17-18) Followed by Gallimard and Pinkerton singing in duet, The whole
word over the Yankee travels, casting his anchor wherever he wants. Life worth living
unless he can win the hearts of the fairest maidens. (1.4.7-11) This promotes the notion
that Westerners are free to travel to different Eastern nations, colonizing their women,
Another example of a postcolonial lens being applied in this play was after Songs
performance of Madame Butterfly. Gallimard was fascinated of the idea that an oriental
woman would sacrifice herself for the love of an unworthy Westerner. Song is quick to
present his postcolonial interpretation of the play to Gallimard by providing him with a
alternative case scenario in which if a blonde home coming queen marries a Japanese
businessman. He treats her cruelly, and then goes home for three years when she
learns he is remarried, she kills herself. Youd consider this girl to be a deranged idiot
but because its an Oriental who kills herself for a Westerner-ah!-you find it beautiful.
(1.3.17-25) These scenes give implications of the acceptance of Oriental woman being at
the leisure, and dispense of Western men. Much like Eastern nations are the leisure and
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dispense of the West. This mind set, deems it acceptable for the East to submit to the
The last example of a postcolonial view of M Butterfly was in Act Two, Scene
Three when Gallimard is expressing his view on the Orientals to his boss Toulon. He tells
Toulon, The Orientals simply want to be associated with whoever shows the most
strength and power. (2.3.5-6) However, this play challenges these tradition power
dynamics between the East and West, by allowing the East to take its power back.
Gallimard, like most Western nations underestimated the power of the Orientals, just as
he did with Song. Gallimards own colonialist mindset was the key his downfall. Despite
all the red flags raised, Gallimard, too clouded by his ego-high of colonized power over
an oriental woman that Gallimard underestimated the power of his Butterfly. In Act
Three, Scene One when the judge asks Song how it is possible that Gallimard never
found out his true identity, Song responds to the judge by saying, I am an Oriental, and
tradition power dynamics, by pointing out that the flaw is the binary ideology of Eastern
presently there are still societies in the world-who like China, as Song describes, are still
postcolonial Western world, we have grown to adopt a more fluid, and less binary
approach in how we identify ourselves as people and as a Nation. Though to some who
have watch or read M Butterfly, the substance of the play roots no deeper than a story of
betrayal. I believe that by analyzing this play from both a post-colonialist, and a queer-
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theorist, we are able to see that Hwangs purpose for writing M Butterfly was to question
roles, and identity; and the stigma of oriental femininity and masculine Western
colonialism.
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Works Cited
EBSCOhost,
library.lavc.edu/login?url=http://search.ebscohost.com/login.aspx?direct=true&db
=ers&AN=96397564&site=eds-live.
library.lavc.edu/login?url=http://search.ebscohost.com/login.aspx?direct=true&db
=aph&AN=112811439&site=eds-live
Wienclaw, Ruth A. "Gender Roles." Research Starters: Sociology (Online Edition), 2015.
EBSCOhost,
library.lavc.edu/login?url=http://search.ebscohost.com/login.aspx?direct=true&db
=ers&AN=89185493&site=eds-live.