By Jonathan Wisenthal et al. (eds.)
Best referred to as the tale from the 1904 Puccini opera, the compelling glossy fantasy of Madame Butterfly has been learn, watched, and re-interpreted for over a century, from Pierre Loti's 1887 novel Madame Chrysanthème to A.R. Gurney's 1999 play Far East. This interesting collaborative quantity examines the Madame Butterfly narrative in a large choice of cultural contexts - literary, musical, theatrical, cinematic, historic, and political - and in a number of media - opera, drama, movie, and prose narratives - and contains contributions from a variety of educational disciplines, reminiscent of Asian stories, English Literature, Theatre, Musicology, and picture Studies.
From its unique colonial beginnings, the Butterfly tale has been grew to become approximately and inverted in recent times to shed gentle again at the nature of the connection among East and West, final well known in its unique model in addition to in retellings corresponding to David Henry Hwang's play M. Butterfly and David Cronenberg's reveal version. The mixed views that consequence from this collaboration offer new and demanding insights into the strong, resonant fantasy of a painful come across among East and West.
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Extra resources for A Vision of the Orient: Texts, Intertexts, and Contexts of Madame Butterfly
On a woodblock print of a geisha from circa 1900 is inscribed the text Cio-Cio-San the Geisha 37 of a ‘kouta’ – a song usually sung by a geisha accompanied by the shamisen3 – which reads: ‘Parting, regretting, reuniting again. Left waiting, still meeting – such is life’ (Dalby 75). There is perhaps no better way to summarize what seems to be the image of a geisha’s psychological make-up and view of life: acceptance and patience, moments of loneliness mixed with hopes for opportunities for new encounters, without which a geisha could not support herself.
26 See Treitler 23–45, who regards the discussion of gender and racial stereotypes in music as responsible for these pernicious binarisms. He concluded the first version of this essay with a comparison between critical musicologists and those who murdered Jews in Auschwitz. Cio-Cio-San the Geisha vera micznik Most critical writings (including many in this volume) view the tragedy of the Madame Butterfly story as an epitome of the clash resulting from the stereotypical racial encounter between the submissive Oriental woman and the cruel white man.
Not all had to become prostitutes, although the West often makes this assumption. 6 Partly because of their professional class position, geisha inspired in their customers more respect and, therefore, more reticence to enter a sexual relationship (Dalby 111). Officially, most women did not enter the profession with the idea of finding a husband. At best, they expected to find a good patron who would provide continuous financial support, so that they could either leave the tea-house and live as kept women, or continue to live as geisha while enjoying a mainly continuous relationship.
A Vision of the Orient: Texts, Intertexts, and Contexts of Madame Butterfly by Jonathan Wisenthal et al. (eds.)