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Analysis Of I. Gallimard's Vision Of The Oriental Butterfly

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“East is east, west is west” (Hwang 18). This utterance demonstrates the dichotomy between the East and the West. The Orient and the Occident indeed have the clear differences in regions; moreover, the potential differences in people and culture are included as well. In the Occident’s perception, the Orient has its own exoticism and inscrutability; therefore, it draws the Occident’s attention. Many scholars, who claim they are Orientalists, have tried to understand and analyse the Orient. Furthermore, those Orientalists would like to represent the Orient to the Occident in their own ways. In the previous chapter, it discusses that this representation loses its accuracy and can distort the truth. Furthermore, representation to a certain degree is a categorisation since it attaches some labels to the Oriental man and the Oriental woman. Among those labels, the butterfly is a common image of the Oriental woman. I. Gallimard’s Vision of the Oriental Butterfly The emergence of addressing the Oriental woman as butterfly should be traced back to Madama Butterfly, an iconic opera written by Giacomo Puccini. Since the main female character Cio-Cio-San is called as Butterfly by her friends, this play is reckoned as the most initial and successful one to construct an image that the Oriental woman is a butterfly. Meanwhile, Butterfly’s characteristics establish an image of the perfect feminine Oriental woman owing to the fact that she is a geisha. Geisha, according to Webster 's New

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