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題名 離變的間諜/蝶: 宋麗玲在《蝴蝶君》中的展演主體性
Unsettling Spy/Butterfly: Song Liling’s Performative Subjectivity in M. Butterfly
作者 陳依婷
Chen, Yi-Ting
貢獻者 姜翠芬
Jiang, Tsui-Fe
陳依婷
Chen, Yi-Ting
關鍵詞 《蝴蝶君》
宋麗玲
主體性
性別展演
M. Butterfly
Song Liling
Subjectivity
Gender performance
日期 2023
上傳時間 2-Aug-2023 14:01:13 (UTC+8)
摘要 華裔劇作家黃哲倫的代表作《蝴蝶君》(1988)一直是東方主義、後殖民主義 研究的經典劇作。在諸多研究中，男主角法國外交官加利瑪多處於討論的中心，而反 觀另一位主角宋麗玲卻在眾多評論中被邊緣化或是少有提及。本篇論文旨在研究劇中 宋麗玲的人物塑造並且探究其流動的展演主體性。宋在台上是技藝精湛的京劇乾旦， 在台下則是風情萬種、順從柔弱的中國「蝴蝶」。為了執行間諜任務而表演出的女性 身份，和自我真實的情感和性別傾向，兩者矛盾地存在於宋的主體意識中，構成了一 個複雜多層次的中國間諜/蝶形象。
本論文建構了宋麗玲在劇中三個階段的主體性變化。受制於民族家國主義薰陶 的京劇培養背景，宋在游刃有餘的性別表演中逐漸迷失並動搖了原本間諜應有的政治 和情感立場。在脫離當時中國的文化大革命大環境之後，宋藉由完全褪去偽裝表露真 實自我，獲得了在愛與自我中的自治和自洽。而原本因表演「蝴蝶」而受到的壓制和 隱忍也在劇末得到了釋放和蛻變。可以說，宋麗玲在男女氣質之間的自如切換完美地 詮釋了朱迪斯×巴特勒的性別展演理論。由此，劇作家不僅在矛盾中賦予了該角色在劇 中的多重解讀性，也借由此人物塑造呼籲觀讀者在研究東西方文化碰撞及權利關係時 要更深層地反省和思考。
M. Butterfly (1988), written by Chinese American playwright David Henry Hwang, is considered an outstanding work in postcolonial studies. In many of the studies, the male protagonist, the French diplomat René Gallimard, has been at the center of the discussion, while the other Chinese protagonist, Song Liling, has been marginalized or rarely touched upon in many criticisms. The purpose of this thesis is to examine the characterization of Song Liling and to explore his fluid performative subjectivity. Song performs as a skilled male-dan onstage while acting as a submissive Chinese “Butterfly” offstage. A complex and multi- layered image of the Chinese spy/butterfly is constituted by the conflicting existence of Song’s acted female persona for the purpose of carrying out his espionage mission and his genuine feelings and gender inclination, both of which are present in his changing subjective consciousness.
This thesis constructs the three stages of Song Liling’s subjective transformation in the play. Song progressively gets lost and destabilizes his initial political and emotional attitude as a Chinese spy within the context of his training in traditional Chinese theater, which was fostered by ethnic nationalism. Song regains agency and autonomy in love and selfhood by expressing his genuine affection after distancing himself from the atmosphere of China’s Cultural Revolution. The past suppression and concealment due to his performance of a subjugated “Butterfly” are also liberated and metamorphosed at the end of the play. It can be said that Song Liling excellently exemplifies Judith Butler’s idea of gender performativity with his fluid switching between femininity and masculinity. Through the ambivalent characterization of Song Liling, Hwang not only endows the possibility for re- reading and re-working the play but also makes a case for deeper contemplation on the power relations and cultural confrontation between East and West.
參考文獻 Bak, John S. “Vestis Virum Reddit: The Gender Politics of Drag in Williams’s A
Stanger Named Desire and Hwang’s M. Butterfly.” South Atlantic Review, vol.
70, no. 4, 2005, pp. 94-119.
Balaev, Michelle. “Performing Gender and Fictions of the Nation in David Hwang’s
M. Butterfly.” Forum for World Literature Studies, vol. 6, no. 4, 2014, pp.609-17. Boles, William C. Understanding David Henry Hwang. South Carolina UP, 2013. Butler, Judith. Bodies That Matter: On the Discursive Limits of Sex. Routledge, 2011. ---. Gender Trouble: Feminism and the Subversion of Identity. Routledge, 1990.
---. “Performative Acts and Gender Constitution: An Essay in Phenomenology and Feminist Theory.” Theatre Journal, vol. 40, no. 2, pp. 519-31.
---. Undoing Gender. Routledge, 2004.
Cao, Yufei 曹煜菲. “Dongfangmeng de Posui yu Chongsheng——ping Hudiejun yu
Xifang Zuoping zhong de Huaren Xingxiang” 東方夢的破碎與重生——評 《蝴蝶君》與西方作品中的華人形象 [The Shattering and Rebirth of Oriental Dreams: A Review of M. Butterfly and the Image of Chinese in Western Works]. Masterpieces Review 名作欣賞, vol. 27, 2017, pp.139-140, 176.
Chang, Hsiao-hung. “Cultural/Sexual/Theatrical Ambivalence in M. Butterfly.” Tamkang Review, vol. 23, 1993, pp.735-55.
---. Gender Crossing: Feminist Theory and Criticism. NITAS Publishing Co, 1995. Deeney, John J. “Of Monkeys and Butterflies: Transformation in M. H. Kingston’s Tripmaster Monkey and D. H. Hwang’s M. Butterfly.” Melus, vol. 18, no. 4, 1993, pp. 21-39.
DiGaetani, John Louis and Hwang, David Henry. “M. Butterfly: An Interview with
David Henry Hwang.” The Drama Review: A Journal of Performance Studies, vol. 33, no. 3, 1989, pp. 141-153.
Eisenstein, Sergei. “The Enchanter from the Pear Garden.” Theatre Arts Monthly, vol.
19, no. 10, 1935, pp. 761-70.
Eng, David L. “In the Shadows of a Diva: Committing Homosexuality in David Henry Hwang’s M. Butterfly.” Amerasia Journal, vol. 20, no. 1, 1994, pp. 93-116.
Fan, Xing. “The Broken and the Breakthroughs: Acting in Jingju Model Plays of China’s Cultural Revolution.” Asian Theatre Journal, vol.30, no.2, 2013, pp.360-89.
Ge, Liang 葛亮. “Annengbianwoshixiongci——you Modan yu Hudiejun de Bijiao
Fenxi kan Huaren (Nanxing) de Wenxue Zaixian Celüe” 安能辨我是雄雌— —由《魔旦》與《蝴蝶君》的比較分析看華人(男性)的文學再現策略 [On the Literary Strategy for Representing Chinese Males in Modan and M.Butterfly]. Foreign Literatures 國外文學, vol. 3, 2006, pp. 108-117. Haedicke, Janet V. “David Henry Hwang’s M. Butterfly: The Eye on the Wing.”Journal of Dramatic Theory and Criticism, vol.7, no.1, 1992, pp. 27-44.
Hope, Hoffman. “Stereotypes as Reinforced Structure in M. Butterfly.”Undergraduate Review, vol.10, no.1, 1997, pp. 53-60.
Hwang, David Henry. “Afterword.” M. Butterfly. Plume, 1989, pp. 94-100.
---. M. Butterfly. Plays for the Theatre: A Drama Anthology, edited by Oscar G. Brockett, 6th ed., Harcourt Brace College Publishers, 1996, pp. 492-536.
Irmscher, Christoph. “‘The Absolute Power of a Man’? Staging Masculinity in Giacomo Puccini and David Henry Hwang.” American Studies, vol. 43, no. 4, 1998, pp. 619-28.
Käll, Lisa Folkmarson. “Performativity and Expression: The Case of David Cronenberg’s M. Butterfly.” Bodies, Boundaries and Vulnerabilities, edited by Lisa Folkmarson Käll, Springer, 2016, pp. 153-74.
Kerr, Douglas. “David Henry Hwang and the Revenge of Madame Butterfly.” Asian Voices in English, edited by Mimi Chan and Roy Harris, Hong Kong UP, 1991,
pp.119-30.
Kondo, Dorinne K. “M. Butterfly: Orientalism, Gender, and a Critique of Essentialist Identity.” Cultural Critique, vol. 16, no.16, 1990, pp. 5-29.
de Lauretis, Teresa. “Popular Culture, Public and Private Fantasies: Femininity and
Fetishism in David Cronenberg’s M. Butterfly.” Signs, vol. 24, no. 2, pp. 303-34. Lee, Josephine. Performing Asian America: Race and Ethnicity on the Contemporary
Stage, Temple UP, 1997.
Lee, Esther Kim. The Theatre of David Henry Hwang. Bloomsbury, 2015.
Lei, Daphne. “Butterfly and Locust: Chinglish and Asian American Theatre in the
Transnational Context.” The Theatre of David Henry Hwang, edited by Esther
Kim Lee, Bloomsbury, 2015, pp.152-166.
Li, Kay. “Shaw and Chinese Music: Exploring Cross-Cultural Peking Opera with Mei
Lan Fang and Hsiung Shih I.” Shaw, vol.39, no.1, pp.76-97.
Li, Tingting 李婷婷. “Hudie de Tuibian——Shixi Huangzhelun bi xia de Hudiejun”
蝴蝶的蛻變——試析黃哲倫筆下的《蝴蝶君》[The Metamorphosis of Butterflies: An Analysis of M. Butterfly by David Henry Hwang]. Jilin Normal University Journal (Humanities & Social Science Edition) 吉林師範大學學報 (人文社會科學版), vol. 6, 2009, pp. 25-26.
Lipscomb, Valerie Barnes. “Age in M. Butterfly: Unquestioned Performance.” Modern Drama, vol. 59, no.2, 2016, pp.193-212.
Low, Gail Ching-Liang. “White Skins/ Black Masks: The Pleasure and Politics of Imperialism.” New Formations, no. 9, 1989, pp. 83-103.
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---. Chinese Drama: A Historical Survey. New World Press, 1990.
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Moy, James S. “David Henry Hwang’s M. Butterfly and Philip Kan Gotanda’s Yankee
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Journal, vol. 10, no.1, 2012, pp.63-77.
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Butterfly.” Theatre Journal, vol. 45, no.3, 1993, pp. 349-62.
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‘Golden Gate.’” MELUS, vol. 27, no. 1, 2002, pp. 177-97.
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Modern Drama, vol. 33, no.1, 1990, pp. 59-66.
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Metamorphosis of Mei Lanfang”, Theatre Research International, vol. 31, no. 1,
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Butterfly as a Horror Story.” Cinema Journal, vol. 37, no. 2, pp.49-64.
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描述 碩士
國立政治大學
英國語文學系
109551024
資料來源 http://thesis.lib.nccu.edu.tw/record/#G0109551024
資料類型 thesis
dc.contributor.advisor 姜翠芬zh_TW
dc.contributor.advisor Jiang, Tsui-Feen_US
dc.contributor.author (Authors) 陳依婷zh_TW
dc.contributor.author (Authors) Chen, Yi-Tingen_US
dc.creator (作者) 陳依婷zh_TW
dc.creator (作者) Chen, Yi-Tingen_US
dc.date (日期) 2023en_US
dc.date.accessioned 2-Aug-2023 14:01:13 (UTC+8)-
dc.date.available 2-Aug-2023 14:01:13 (UTC+8)-
dc.date.issued (上傳時間) 2-Aug-2023 14:01:13 (UTC+8)-
dc.identifier (Other Identifiers) G0109551024en_US
dc.identifier.uri (URI) http://nccur.lib.nccu.edu.tw/handle/140.119/146556-
dc.description (描述) 碩士zh_TW
dc.description (描述) 國立政治大學zh_TW
dc.description (描述) 英國語文學系zh_TW
dc.description (描述) 109551024zh_TW
dc.description.abstract (摘要) 華裔劇作家黃哲倫的代表作《蝴蝶君》(1988)一直是東方主義、後殖民主義 研究的經典劇作。在諸多研究中，男主角法國外交官加利瑪多處於討論的中心，而反 觀另一位主角宋麗玲卻在眾多評論中被邊緣化或是少有提及。本篇論文旨在研究劇中 宋麗玲的人物塑造並且探究其流動的展演主體性。宋在台上是技藝精湛的京劇乾旦， 在台下則是風情萬種、順從柔弱的中國「蝴蝶」。為了執行間諜任務而表演出的女性 身份，和自我真實的情感和性別傾向，兩者矛盾地存在於宋的主體意識中，構成了一 個複雜多層次的中國間諜/蝶形象。
本論文建構了宋麗玲在劇中三個階段的主體性變化。受制於民族家國主義薰陶 的京劇培養背景，宋在游刃有餘的性別表演中逐漸迷失並動搖了原本間諜應有的政治 和情感立場。在脫離當時中國的文化大革命大環境之後，宋藉由完全褪去偽裝表露真 實自我，獲得了在愛與自我中的自治和自洽。而原本因表演「蝴蝶」而受到的壓制和 隱忍也在劇末得到了釋放和蛻變。可以說，宋麗玲在男女氣質之間的自如切換完美地 詮釋了朱迪斯×巴特勒的性別展演理論。由此，劇作家不僅在矛盾中賦予了該角色在劇 中的多重解讀性，也借由此人物塑造呼籲觀讀者在研究東西方文化碰撞及權利關係時 要更深層地反省和思考。		zh_TW
dc.description.abstract (摘要) M. Butterfly (1988), written by Chinese American playwright David Henry Hwang, is considered an outstanding work in postcolonial studies. In many of the studies, the male protagonist, the French diplomat René Gallimard, has been at the center of the discussion, while the other Chinese protagonist, Song Liling, has been marginalized or rarely touched upon in many criticisms. The purpose of this thesis is to examine the characterization of Song Liling and to explore his fluid performative subjectivity. Song performs as a skilled male-dan onstage while acting as a submissive Chinese “Butterfly” offstage. A complex and multi- layered image of the Chinese spy/butterfly is constituted by the conflicting existence of Song’s acted female persona for the purpose of carrying out his espionage mission and his genuine feelings and gender inclination, both of which are present in his changing subjective consciousness.
This thesis constructs the three stages of Song Liling’s subjective transformation in the play. Song progressively gets lost and destabilizes his initial political and emotional attitude as a Chinese spy within the context of his training in traditional Chinese theater, which was fostered by ethnic nationalism. Song regains agency and autonomy in love and selfhood by expressing his genuine affection after distancing himself from the atmosphere of China’s Cultural Revolution. The past suppression and concealment due to his performance of a subjugated “Butterfly” are also liberated and metamorphosed at the end of the play. It can be said that Song Liling excellently exemplifies Judith Butler’s idea of gender performativity with his fluid switching between femininity and masculinity. Through the ambivalent characterization of Song Liling, Hwang not only endows the possibility for re- reading and re-working the play but also makes a case for deeper contemplation on the power relations and cultural confrontation between East and West.		en_US
dc.description.tableofcontents Chapter One: Introduction 1
Literature Review 3
Theoretical Framework 9
My Argument 13
Chapter Organization 14
Chapter Two: Orientalism and Ethnic Nationalism 16
Orientalism, Race, and Ethnicity 17
Nationalism and Chinese Drama 23
Chapter Three: Onstage and Offstage Gender Performances 31
Onstage performance 31
Offstage Performance 34
Getting Lost and Destabilization 40
Chapter Four: Liberation and Genuine Love 47
Chapter Five: Conclusion 60
Works Cited 65		zh_TW
dc.format.extent 851297 bytes-
dc.format.mimetype application/pdf-
dc.source.uri (資料來源) http://thesis.lib.nccu.edu.tw/record/#G0109551024en_US
dc.subject (關鍵詞) 《蝴蝶君》zh_TW
dc.subject (關鍵詞) 宋麗玲zh_TW
dc.subject (關鍵詞) 主體性zh_TW
dc.subject (關鍵詞) 性別展演zh_TW
dc.subject (關鍵詞) M. Butterflyen_US
dc.subject (關鍵詞) Song Lilingen_US
dc.subject (關鍵詞) Subjectivityen_US
dc.subject (關鍵詞) Gender performanceen_US
dc.title (題名) 離變的間諜/蝶: 宋麗玲在《蝴蝶君》中的展演主體性zh_TW
dc.title (題名) Unsettling Spy/Butterfly: Song Liling’s Performative Subjectivity in M. Butterflyen_US
dc.type (資料類型) thesisen_US
dc.relation.reference (參考文獻) Bak, John S. “Vestis Virum Reddit: The Gender Politics of Drag in Williams’s A
Stanger Named Desire and Hwang’s M. Butterfly.” South Atlantic Review, vol.
70, no. 4, 2005, pp. 94-119.
Balaev, Michelle. “Performing Gender and Fictions of the Nation in David Hwang’s
M. Butterfly.” Forum for World Literature Studies, vol. 6, no. 4, 2014, pp.609-17. Boles, William C. Understanding David Henry Hwang. South Carolina UP, 2013. Butler, Judith. Bodies That Matter: On the Discursive Limits of Sex. Routledge, 2011. ---. Gender Trouble: Feminism and the Subversion of Identity. Routledge, 1990.
---. “Performative Acts and Gender Constitution: An Essay in Phenomenology and Feminist Theory.” Theatre Journal, vol. 40, no. 2, pp. 519-31.
---. Undoing Gender. Routledge, 2004.
Cao, Yufei 曹煜菲. “Dongfangmeng de Posui yu Chongsheng——ping Hudiejun yu
Xifang Zuoping zhong de Huaren Xingxiang” 東方夢的破碎與重生——評 《蝴蝶君》與西方作品中的華人形象 [The Shattering and Rebirth of Oriental Dreams: A Review of M. Butterfly and the Image of Chinese in Western Works]. Masterpieces Review 名作欣賞, vol. 27, 2017, pp.139-140, 176.
Chang, Hsiao-hung. “Cultural/Sexual/Theatrical Ambivalence in M. Butterfly.” Tamkang Review, vol. 23, 1993, pp.735-55.
---. Gender Crossing: Feminist Theory and Criticism. NITAS Publishing Co, 1995. Deeney, John J. “Of Monkeys and Butterflies: Transformation in M. H. Kingston’s Tripmaster Monkey and D. H. Hwang’s M. Butterfly.” Melus, vol. 18, no. 4, 1993, pp. 21-39.
DiGaetani, John Louis and Hwang, David Henry. “M. Butterfly: An Interview with
David Henry Hwang.” The Drama Review: A Journal of Performance Studies, vol. 33, no. 3, 1989, pp. 141-153.
Eisenstein, Sergei. “The Enchanter from the Pear Garden.” Theatre Arts Monthly, vol.
19, no. 10, 1935, pp. 761-70.
Eng, David L. “In the Shadows of a Diva: Committing Homosexuality in David Henry Hwang’s M. Butterfly.” Amerasia Journal, vol. 20, no. 1, 1994, pp. 93-116.
Fan, Xing. “The Broken and the Breakthroughs: Acting in Jingju Model Plays of China’s Cultural Revolution.” Asian Theatre Journal, vol.30, no.2, 2013, pp.360-89.
Ge, Liang 葛亮. “Annengbianwoshixiongci——you Modan yu Hudiejun de Bijiao
Fenxi kan Huaren (Nanxing) de Wenxue Zaixian Celüe” 安能辨我是雄雌— —由《魔旦》與《蝴蝶君》的比較分析看華人(男性)的文學再現策略 [On the Literary Strategy for Representing Chinese Males in Modan and M.Butterfly]. Foreign Literatures 國外文學, vol. 3, 2006, pp. 108-117. Haedicke, Janet V. “David Henry Hwang’s M. Butterfly: The Eye on the Wing.”Journal of Dramatic Theory and Criticism, vol.7, no.1, 1992, pp. 27-44.
Hope, Hoffman. “Stereotypes as Reinforced Structure in M. Butterfly.”Undergraduate Review, vol.10, no.1, 1997, pp. 53-60.
Hwang, David Henry. “Afterword.” M. Butterfly. Plume, 1989, pp. 94-100.
---. M. Butterfly. Plays for the Theatre: A Drama Anthology, edited by Oscar G. Brockett, 6th ed., Harcourt Brace College Publishers, 1996, pp. 492-536.
Irmscher, Christoph. “‘The Absolute Power of a Man’? Staging Masculinity in Giacomo Puccini and David Henry Hwang.” American Studies, vol. 43, no. 4, 1998, pp. 619-28.
Käll, Lisa Folkmarson. “Performativity and Expression: The Case of David Cronenberg’s M. Butterfly.” Bodies, Boundaries and Vulnerabilities, edited by Lisa Folkmarson Käll, Springer, 2016, pp. 153-74.
Kerr, Douglas. “David Henry Hwang and the Revenge of Madame Butterfly.” Asian Voices in English, edited by Mimi Chan and Roy Harris, Hong Kong UP, 1991,
pp.119-30.
Kondo, Dorinne K. “M. Butterfly: Orientalism, Gender, and a Critique of Essentialist Identity.” Cultural Critique, vol. 16, no.16, 1990, pp. 5-29.
de Lauretis, Teresa. “Popular Culture, Public and Private Fantasies: Femininity and
Fetishism in David Cronenberg’s M. Butterfly.” Signs, vol. 24, no. 2, pp. 303-34. Lee, Josephine. Performing Asian America: Race and Ethnicity on the Contemporary
Stage, Temple UP, 1997.
Lee, Esther Kim. The Theatre of David Henry Hwang. Bloomsbury, 2015.
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