《蝴蝶君》的后殖民主义解读英语语言文学专业论文.docxVIP

ii ii 他男扮女装“为革命献身”，如此却加剧了他的苦难。伽利马早年失败的生活经验和不愉 快的性经验，使他在人际交往、日常生活和工作中都畏畏缩缩，在潜意识中排斥西方人， 渴望在理想的“蝴蝶”身上实现男权的重塑。 第六章是对本文的总结，指出了本文的理论意义和现实意义，以及本文的不足和未来 的研究方向。宋丽伶和伽利马的属下身份以及他们不幸的命运是由文化冲突和文化误读所 导致的。由此可以看出霸权文化导向的是衰败，而多元文化并存势必会成为时代的主流， 唯有保持平等与和平的立场，消除身份危机，才能谋求更大的发展。 关键词：《蝴蝶君》；后殖民主义；东方主义；混杂性；属下；身份 iii iii Abstract M. Butterfly was finished in October, 1986.The play is based on a real spy case, Chinese M. Butterfly, which happened in France in 1960s. M. Butterfly is the first Chinese play that was performed at Broadway. David Henry Hwang was honored with Tony Award for best Play in 1988 and he is the first Chinese American playwright who has won the great prize. M. Butterfly deconstructed Puccini‘s Madame Butterfly. The play is considered as a subversion of the original orientalism and now it has become the necessary reading book for western university students. Compared to the research abroad, the research on M. Butterfly at home started late. The researchers mostly start from the perspective of Deconstructionism and Orientalism to explain political problems. Most of the foreign researchers think that the playwright David Henry Hwang expresses his political standpoint as “the East is stronger than the West”. The main comments at home think this play caters to the western stereotype. But the former comments seldom analyze the sources that caused the protagonists’ hard situation from the play itself. From the perspective of Postcolonialism, this thesis analyzes the protagonists’ identity crisis and discusses the reasons that cause this crisis through Orientalism, Hybridity and Subaltern theory. This thesis contains six parts. Chapter One is a general introduction to David Henry Hwang and M. Butterfly. This chapter also presents the research purpose and the background of this thesis. Chapter Two presents literature review and the relevant postcolonial theories. Literature review is about the domestic and overseas critics‘ researches and comments on M. Butterfly from different pers