Theme Of F. Gallimard As The Cruel Occidental Man

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F. Gallimard as the Cruel Occidental Man Nevertheless, this is not enough to be an Occidental male dominator for Gallimard. He decides to have another lover; another woman that can evince his Butterfly is a silent beauty. Therefore, he develops another relationship with Renee, a woman who is “too uninhibited, too willing, so as to seem almost too . . . masculine” (Hwang 54). Renee can be reckoned as a typical Occidental woman that is bold enough to display her nude body and straightforwardly to discuss the size as well as names of a penis with Gallimard. Gallimard is probably “exciting to be with someone who [i]sn’t afraid to be seen completely naked”; nevertheless, he has another purpose which is serving Gallimard’s personal desire of the…show more content…
For this reason, her flawlessness entirely blinds Gallimard to see Song is not only an emissary but also a man for ten years. At the end, Gallimard eventually realises that the “devastating knowledge that, underneath it all, the object of her love [i]s nothing more, nothing less than . . . a man” (Hwang 92). Furthermore, Rene Gallimard acknowledges that all along Madame Butterfly is not performed by Song Liling but himself (Hwang 93). This admission seems to overthrow the original image of the Oriental butterfly and to replace the Oriental butterfly with a Caucasian man.
Furthermore, Song Liling meanwhile, as David Leiwei Li asserts, has successfully represented “a version of the femme fatale, a dragon lady” in western conception (160). The dragon lady, according to Lan Dong’s depiction in Asian American Culture: From Anime to Tiger Moms, is originated in “early American films” (262). Dong
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After Tsai-ch’un’s death, Tz’u Hsi through the constant infant emperors preserves her power until 1908 (Flynt and Berkley 285). To put it briefly, by exploiting the fact that an infant or child cannot conduct state affairs, Tz’u Hsi successfully controls and manipulates the Qing Dynasty. As the woman who has exceedingly strong ambition, Tz’u Hsi interprets another type of the Oriental woman who is in contrast with the Oriental

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