变装皇后文化:洪德宏剧作《蝴蝶君》中女性气质与男性自我的互动

A. Gaidash, Andrii Mykhailiuk
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摘要

这项研究的相关性在于变装皇后文化的作品的发展和传播,因为它不仅在酷儿研究和文学探索中被理解,而且在小说中也被理解。本文以变装皇后文化为视角,分析黄哲伦戏剧《蝴蝶夫人》中女性气质与男性自我的互动。研究结果也将有助于勾勒出对艺术作品中图像的新解释。文化历史研究方法、女性主义研究方法和侧面分析方法是实现这一目标的主要方法。这项研究澄清了“变装皇后”一词的含义和起源;变装皇后文化的具体元素被挑出来;概述了“女性气质”一词和女性行为模式的固有特征;主人公(蝴蝶先生和加利马德先生)的艺术形象和世界观是有特色的。在研究过程中,M. Butterfly似乎代表了变装皇后文化,因为它有“转型”的元素,但不是传统意义上的。这种文化的大多数代表都是出于娱乐目的而使用转世,但在我们的例子中,主角使用这些技术来操纵和欺骗。此外,本文还概述了Gallimard世界观的特殊性,使我们能够理解主人公之间女性气质和男性自我互动的特殊性。通过分析作品中主要人物之间的交际行为,可以看出他们代表了西方和东方两种文化(东方主义)的对抗。值得注意的是,对这两种文化的刻板印象和肤浅看法在塑造《蝴蝶夫人》的主人公方面发挥了至关重要的作用。鉴于这一结果,我们看到了进一步研究变装皇后文化的前景,因为它不仅可以提高作品的电影改编,而且可以更深入地研究人物的艺术形象。我们的研究在酷儿研究领域也有增长的前景,因为变装皇后文化的成员主要将自己定位为酷儿人群。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
DRAG QUEEN CULTURE: THE INTERACTION OF FEMINITY AND THE MALE EGO IN D. H. HONG’S PLAY "M. BUTTERFLY"
The study's relevance is due to the development and dissemination of works on the culture of a drag queen, as it is understood not only in queer research and literary exploration but also in fiction. The article analyses the interaction of femininity and male ego in D. H. Hwang's play "Madame Butterfly" through the prism of elements of drag queen culture. The study results will also help to outline new interpretations of images in works of art. The cultural-historical method, feminist approach and aspect analysis were used to achieve the goal. The study clarified the meaning and origin of the term "drag queen"; the specifics of the elements of drag queen culture are singled out; the term "femininity" and the features inherent in the feminine model of behaviour are outlined; the artistic image and worldview of the protagonists (M. Butterfly and R. Gallimard) are characterised. During the research, it appeared that M. Butterfly represents drag queen culture because it has elements of "transformation", but not in its traditional sense. Most of the representatives of this culture use reincarnations for entertainment purposes, but in our case, the main character uses these techniques to manipulate and deceive. In addition, the peculiarities of Gallimard's worldview were outlined, which allowed us to understand the peculiarities of the interaction of femininity and the male ego between the protagonists. Analysis of communicative acts between the main characters of the work showed that they represent the confrontation of two cultures: Western and Eastern (Orientalism). It is worth noting that the stereotypical and superficial perceptions of both cultures played an essential role in shaping the protagonists of Madame Butterfly. Given the result, we see prospects in further study of drag queen culture, as it will not only improve the film adaptation of works and more thoroughly study the artistic images of the characters. Our study also has the prospect of growth in the field of queer research, as members of the drag queen culture primarily identify themselves as queer people.
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