Social And Psychological Role Of Gender With Orientalism By David Henry Hwang Essay

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

To be young and Asian in America is a special brand of torture. There is an unspoken dictum of silence that grips Asian youth, a denial of our place in popular culture. Asian youth walk in America not quite sure where we fit in-black children have a particular brotherhood, Hispanic children have a particular brotherhood, white children own everything else. We cannot lay claim to jazz or salsa or swing; we cannot say our ancestors fought for equality against an oppressive government or roamed the great hallways of power across the globe. We do not have a music, a common hero, a lexicon of slang. Asian youth experience personal diasporas every day.

In modern times, feminism and the yearning to become more than a traditional “housewife” have been topics of fierce discussion; however, often neglected is the fact that men, too, are expected to fulfill a role in society. In Michel Marc Bouchard’s Lilies, the characters are heavily influenced by the Catholic, Quebecois society of Roberval, which promotes heteronormativity and a certain masculine mold, resulting in tense relationships with oneself and with others. This can be seen as Simon struggles internally with who he is while Bilodeau and Timothee express discontent in the increasing visibility of homosexuality and the breakdown of the masculine “norms.” Although this play takes place in the early 20th century, the advocacy of what a man should be according to Catholicism, which often leads to homophobia, still prevails heavily today, as seen in Katherine Dugan’s “Gendering Prayer: Millennial-generation Catholics and the Embodiment of Feminine Genius and Authentic Masculinity” and in Wayne Martino’s “Policing Masculinities: Investigating the Role of Homophobia and Heteronormativity in the Lives of Adolescent School Boys.” These articles show the extent to which the toxic outlook on masculinity is seen in Lilies while providing insight into how the public is expected to adhere to heteronormativity. These struggles perceived in Lilies can also further be analyzed through the works of Roy Brooks-Delphin, Lowell Gallagher et al., and Wolfgang Palaver.

In David Hwang’s play, M. Butterfly, the story covers the superior attitude that Western white men hold toward Eastern oriental women which is shown through Rene Gallimard’s experiences. Throughout the story, Gallimard constantly brings up his favorite play, M. Butterfly, where an oriental woman, Butterfly, gives up and loses everything including her life for the white man she loves, Pinkerton, and despite Butterfly’s efforts, Pinkerton ends up marrying another woman causing Butterfly to commit suicide. Many white men enjoy this play because it portrays white men to look superior and gives them the assumption that oriental women would do and give up anything for a white man. Gallimard is also one of the white men who believe they are superior to oriental women and that no matter what he does, an oriental woman would never leave his side. Gallimard 's belief of racial superiority is what led him to his control over Song as if Gallimard was Pinkerton and Song was his Butterfly, this fantasy that Gallimard created for himself was false because in reality, Gallimard was the Butterfly and Song was the Pinkerton.

Vic Lang, one of the central characters, is arguably most affected by the constraints society places on gender — succumbing to romanticised ideologies.

Despite the fact that Asian Americans have been in Hollywood for decades, there are very few positive representations of them in film. More often than not, they’ve been depicted as stereotypical caricatures, and more specifically, as foreigners who can’t speak grammatically correct English. Moreover, the negative representations of Asian Americans in film has perpetuated certain misconceptions about their culture. Chan is Missing (1982) calls for more genuine representations of Asian American identities through its cast of complex characters and defiance of Asian stereotypes. The film also urges its viewers to critically think about their own notions of identity through the use of several recurring themes and filmmaking techniques.

Although Asian Americans comprise only about 5% of the U.S. population, this group is the fastest growing segment of American society. Despite such rapid expansion, Asian Americans are widely underrepresented throughout media, whether in television, cinema, or literature. Moreover, there are different stereotypes associated with Asian Americans. One of the most pervasive stereotypes details how Asian Americans are a “model minority”. In essence, this myth describes how anyone who is Asian American will become a successful individual able to achieve the “American dream”.

As the immigrant population currently projected to overtake latinxs and hispanics as largest group of residents in the United States of America, Asian Americans have shown their will to survive in a way that many groups have not, and that is by banding together in order to achieve the life they deserve. Taking the overgeneralization of pan-ethnicity and using it as a device for increased numbers and support for the causes of a group of people who otherwise may not have much to do with each other, is a testament to how vulnerable they must have felt as well as how successful they have managed to be many aspects of progress. What I have gained from this course is the understanding that at the root of ethnic studies and the Asian American community is the “for us, by us” sentiment that contributed to the blurred lines between the different part of their communities as social, political and cultural, structures, collectives and groups which came out of an obligation and necessity to protect those immigrants and their future generations from a country which has always pushed European superiority in all aspects of society.

     Asian Americans only make up a small percent of the American population. Even more significant is that this percentage live mostly on the west and east coasts of mainland United States and Hawaii; leaving the rest of the American population to most likely get their exposures to Asians through television and movies. However the exposure they have receive throughout the history of cinematography has been hardly flattering. Throughout the course of history Asians in film have been portrayed as evil or the "yellow peril" as described by others. If Asians are not being classified as evil in this picture then they are most likely the comic relief, with their lack of coordination or grasp of the English

American Literature has always been about men and for men. In this essay, we are going to analyze the women’s role in the book, as inferior and weaker gender.

David Henry Hwang’s M. Butterfly captivates this notion of inner confliction with Rene Gallimard’s search for power that he had lacked within his youth through his formed acquaintance with Song Liling. Gallimard often looks back on memories of his friend Marc as a guiding figure on how men are supposed to act within society. Throughout M. Butterfly, Marc, a stereotypical model of Western men, teaches Gallimard the Western ideal woman’s sole purpose of existence is to sexually please their male counterparts and that they are easily expandable. It is not until viewing opera performance of Madame Butterfly that the trait of submissiveness to shame appeals to Gallimard; a quality he has deemed the most important aspect of feminine culture. After

In David Henry Hwang's play M. Butterfly we are introduced to Rene Gallimard who has unknowingly been sexually involved with another man for twenty years. The idea of mistaken gender within the play causes the reader to question how could one mistake his/her lover's gender for so long? In Rene Gallimard's search for self-identity he ignorantly chooses illusion over reality.

Orientalism is a study of language and traditions of the people and their culture in the Middle East. These studies are mostly done by people outside of the culture that is being looked at, and mostly the studies are being performed by white western men. Edward Said believed that there was a problem with the way in which other people were studying and writing about his culture. He was upset and spoke up when he wrote a booked called “Orientalism,” in his book he points out many reasons why the study of orientalism is hurting the cultures in which they are studying. The study of other cultures and countries better known as the Orient has become a popular discussion since Said’s book on orientalism was published. This paper will take a look

Of the Romantics, the ones who were vastly inspired by Romantic Orientalism were the trio of Shelley (and through him) Byron and Keats.

The role of gender can be different in accordance with different cultures and traditions. There are millions of culture and tradition in all around the world, and they can have different practices, social aspects, values and the role of gender in society. The role of gender can be evaluated and analyzed among different cultures, for example, the American culture, the Thai culture, and the Omani Culture.