John Luther Long’s Madame Butterfly and Imperial Domesticity

2009 ◽  
pp. 15-45
Author(s):  
Mark Anderson
Keyword(s):  
Madame Butterfly

Of Comics and Charisma: Representing Transpacific White Masculinities

2020 ◽  
Vol 0 (0) ◽  
Author(s):  
Christina D. Owens
Keyword(s):  
North American ◽  
White Male ◽  
English Teachers ◽  
Comic Strip ◽  
Reading Practices ◽  
Charismatic Authority ◽  
Cultural Texts ◽  
Madame Butterfly ◽  
White Masculinities ◽  
Male Heterosexual

AbstractThis article employs palimpsestuous reading practices to query the transpacific reach and imperial pedigree of the comic strip “Charisma Man.” Turning to Max Weber’s theory of “charismatic authority” to understand the comic’s humorous portrayals of white male heterosexual privilege in Asia, the article proposes that the comic strip illuminates the patterns of raced and gendered “hereditary charisma” that continue to haunt transpacific relations. “Charisma Man,” penned by a team of North American men living in Japan, links contemporary white migrants across Asia – especially native English teachers – with a longue durée of Euro-American imperial actors abroad and builds meaning through intertextual engagement with the iconic cultural texts Superman and Madame Butterfly. The article concludes that “Charisma Man” makes light of white male hereditary charisma in Asia through a layering of temporally-disjointed transpacific discourses and, in turn, adds one more layer to a palimpsestuous sedimentation of sexist and racist hierarchies, normalizing their continuation within contemporary globalization.

On Playing Madame Butterfly

1995 ◽  
Vol 11 (41) ◽  
pp. 12-16
Author(s):  
Diana Soviero
Keyword(s):  
Madame Butterfly

We rehearsed here at the Bastille for eight weeks, very slowly. Every finger, every movement was specific because of the lighting. The lighting is one of the most important things in the show. He has about four hundred and fifty lights on the sides and above. We could not, for instance, be parallel to each other. We always had to be on a diagonal, because the lights from the side would shadow. My hands are very important in the production because they are lit at every angle. They are made up very much. My whole body's made up. Every gesture, every point of every finger, is at the character; and every movement reflects the light. If my fingers are open, the light comes through. If I close them, that means I'm angry and I let no light in. It's really incredible. He's a genius, the man, he's a genius.

Cinematic realism, reflexivity and the American ‘Madame Butterfly’ narratives

2005 ◽  
Vol 17 (1) ◽  
pp. 59-93 ◽  
Author(s):  
W. ANTHONY SHEPPARD
Keyword(s):  
Genre Analysis ◽  
Race And Gender ◽  
Madame Butterfly ◽  
And Gender ◽  
The Relationship

This article focuses on two cinematic versions of the ‘Madame Butterfly’ tale. Produced near the beginning of the sound era, the 1932 Madame Butterfly struggles to co-opt Puccini's opera and thereby create a fully cinematic Butterfly. My Geisha, created three decades later, aspires to subvert Orientalist representation by reflecting back upon Puccini's and Hollywood's Butterflies with hip sophistication. Both films work simultaneously with and against the Butterfly canon in intriguing ways and both are shaped by prevailing American perceptions of race and gender. In investigating the relationship between these films and Puccini's opera, I raise broader issues of comparative genre analysis, focusing particularly on exotic representation on stage and screen. Does film, in its bid to project exotic realism in both sound and image, succeed in surpassing the experience of staged Orientalist opera?

The Archetypal Drama in Puccini's Opera Madame Butterfly

2010 ◽  
Vol 53 (1) ◽  
pp. 62-70
Author(s):  
Nancy Swift Furlotti
Keyword(s):  
Madame Butterfly

scholarly journals Giacomo Puccininin Madame Butterfly ve David Henry Hwangin M. Butterfly Adlı E

2016 ◽  
Vol 11 (Volume 11 Issue 10) ◽  
pp. 501-501
Author(s):  
Mehtap SARIARSLAN
Keyword(s):  
Madame Butterfly
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