Era uma vez...de Benjamin Lacombe

Era uma vez..., de Benjamin Lacombe, é um livro que é arte pura, magistralmente sedutor pela sua arquitetura física e imagens insólitas. Um livro pop-up, com personagens dos contos clássicos para infância (Polegarzinha, Pinóquio, Madame Butterfly, Chapeuzinho Vermelho, Alice no País das Maravilhas, O Barba Azul, A Bela Adormecida e Peter Pan), que desfilam pelas páginas em dobraduras em três dimensões. Talvez Madama Butterfly se distancie das narrativas feéricas, mas por certo, Lacombe a introduziu com perfeição na sua insólita construção.

Social condition of japanense geisha as reflectd in short story Madame Butterfly by John Luther Long

In this undergraduate thesis, the writer discusses short story Madam Butterfly written by John Luther Long. This study is aimed: (1) to describe the Geisha social life condition in Japanese society as reflected in Madame Butterfly (2) to describe the social class in Japanese society in 1903s as reflected in Madam Butterfly. In doing this research, the writer uses descriptive qualitative method which refers to description of things, characters, meaning and symbols. There are two types of data in this study.The findings of the research show that Geisha in Japan through Cho Cho San the main character in Madame Butterfly was a reflection of Geisha’s life condition in Japanese society. The writer conclude that Social condition of Geisha in Japan in 1930s are an entertainer because they are has been train for accompany all of the guests. Serve the drink, singing, dancing and playing music instrument were the Geisha’s job while accompany the guest. The guest also did some flirting to the Geisha. In 1930s American missionary and American Navy enter Japan for some mission, there are also American people who married Japanese girl. Beside the Geisha social life condition, there are two class in Japanese society that exist in 1903s Kazoku (Nobleman) and Heinin (Proletar). The social class in Japan in that time is very contrast between the Nobleman and Ploretar. Madam Butterfly include to high class people because of she married to a foreigner because according to Japanese, if they married a foreigner it can rise their social status.

Chapter 7

In 1932, Cary Grant had his first major role in a high profile film, working with the famed star-director team Josef von Sternberg and Marlene Dietrich in Blonde Venus (1932). Chapter 7 explores the making of this classic film, and Cary Grant’s discomfort working alongside these two very temperamental personalities. It considers the crucial element that von Sternberg brought to Cary Grant’s image: his razor sharp hair parting. It also offers accounts of the making of Hot Saturday (1932) and Madame Butterfly (1932), and, in the process, the slow but steady improvement in Grant’s acting and on-screen presence.

Of Comics and Charisma: Representing Transpacific White Masculinities

This 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.

Temporary marriage as Russian literary pattern in the 19th – early 20th century

The paper deals with the subject of temporary marriage between Russian sailors and Japanese women in fictional and non-fictional literature. The literary pattern of temporary marriage includes time limitation of the marriage, the language or/and cultural barrier and the man’s leaving at the end. The time limitation sometimes makes one or both spouses consider this marriage as legal, but “not true.” There are two main variants of the pattern in Russian travel notes of the 19th − early 20th century. The first is the positive one (A. Krasnov, D. Schreider, and N. Bartoshewsky). Both husband and wife are kind-hearted people, their family life is pure and real, although they do not entirely understand each other’s language. The second is the negative one (F. Knorring, D. Armfelt, G. de Vollan, and Vinogradov). Husband and wife are both pragmatic, rational, and cold, with the whole tradition turning into a sort of prostitution and insincere comedy. The plot variants, with one of the spouses being pragmatic, mercantile and cruel, and another loving, faithful, and suffering, are not common. Yuzhakov’s travel notes include such a rare case. The asymmetrical variant was more popular in Western fiction (Madame Butterfly). Russian fiction prefers the positive variant of the pattern. In short stories by D. Persky and M. Volkonsky, the authors transform the motives from Madame Chrysanthème by P. Loti and Madame Butterfly by J. L. Long by showing the Russians as noble people and achieving a happy end wherever possible.