orientalizm that apper in M.Butterfly
br Song Liling whom he perceives to be feminine . In the same way , Gallimard assumes representation of the masculine thinking of the West or what others have called the West ‘s rape mentality ‘ which sees , through the inherent superiority complex of the masculine , the weak , delicate , and mysterious Song Liling and becomes obsessed with her /him . In the end , it is this assumed position of superiority which deceives Gallimard / the West , and not Song Liling her /himself , which necessitates the reversal of roles in the last part where Gallimard takes his own life [banner_entry_middle]
over the realization of his weakness
The confrontation between the modern ‘ and the backward ‘ is evident in Song ‘s constant cynicism over Gallimard ‘s shower of compliments which metaphorically shows the orient ‘s attempt to reject the west ‘s romanticized notion of an exotic art and way of life or the mystified viewpoint that collapses the Orient into an indistinguishable mass , annihilating the differences between the Chinese , Vietnamese , and Japanese (Moy , 1993
Moreover , the metaphor of one ‘s inner and outer self is also used to subvert the traditional portrayal of ethnic culture therefore it Song Liling in M . Butterfly was not a character meant to the audience but to deliver its message across : He /she was revealed to be a male fully challenging the pervasive taboo and contempt for homosexuality in the West and revealing the masquerades that are often used by people and societies to project a persona that is expected of them which is often in conflict with the often hidden but real desires , dreams , and nature of peoples and societies . This is shown by the role reversals of the two protagonists at the end of the story where Gallimard becomes the butterfly ‘ that was Song in the beginning , a scathing critique of the play… [banner_entry_footer]
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