摘要
黄哲伦笔下的《蝴蝶君》是对西方后殖民主义《蝴蝶夫人》的拆解之作,是对西方中心神话进行最彻底颠覆的剧作之一。作品中自大自负且自欺的加利马尔以东方主义二分法的视角去审视东方人,东方女人,将她们视为完美的能够为自己殉情的蝴蝶夫人。当加利马尔和宋丽灵"不按套路出牌的游戏"牌底揭晓时,以男子形象出现的宋丽灵彻底摧毁了加利马尔的东方主义幻想,本想征服他人的加利马尔却使自己陷入了自我拆解的漩涡中。
David Henry Hwang＇s M.Butterfly not only deconstructs post-colonial stereotypes of Madame Butterfly but also subverts the myth of the West Center. Pride, conceit and self-deceiving Gallimard from the view of Orientalism dichotomy to find the Oriental, the Oriental woman, regarded them as perfect lovers can for their own Valentine＇s love of Madame Butterfly. At the end of the irregular play, Gallimard made known Song was a man, he was completely destroyed the fantasies of Orientalism of his own, in doing so he was lifting a rock only to drop on his own feet.
出处
《吉林师范大学学报（人文社会科学版）》
2009年第6期25-26,共2页
Journal Of Jilin Normal University:Humanities & Social Science Edition
关键词
黄哲伦
《蝴蝶君》
解读
David Henry Hwang
M. Butterfly
Interpretation
