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ndly involve in this relationship with Gallimard. She  aims  to  get  intelligence  from  Gallimard  through  this  relationship.  So  that  Song dominates her relationship with Gallimard wisely. Song plays Hua Tan, which is a kind of female role in Peking Opera so that he knows that “only a man knows how a woman is supposed to act.” (M. Butterfly: 63) He shows up in the role of Madame Butterfly during the performance in front of Gallimard, firstly. Next, Song Liling tries to leave an  impression  of  a  delicate  woman  in  Gallimard’s  mind  successfully,  to  arouse Gallimard’s interest, and create an illusion that Song Liling likes him, but she cannot express it directly because of her shyness. At their first meeting, Song points that the fantasies,  which  the  submissive  Oriental  woman  and  the  cruel  white  man  are  why Gallimard  likes  the  opera.  

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Chapter Two The Extrication of the Other

2.1 The Immanence of Women

Beauvoir uses “Immanence” to describe the historic domain assigned to women: a closed-off realm where women are interior, passive, static, and immersed in themselves. Immanence  prevents  women  from  being  the  Subject  and  forms  a  vicious  circle  that keeps women in it. Under such circumstances,  women are not able to take adequate measures  to  fight  against  the  powerful  patriarchal  oppression.  Immanence  is  the limitation that restricts women from thinking and behaves independently. So women are unable to change their fates no matter what ways they take. Cio-Cio-San is a typical example, which is embodied in three aspects.

Firstly, Cio-Cio-San is forced to grow up. And according to Beauvoir,  “The  girl  is  made  to  fit  precociously  into  the  universe  of  serious  affairs;  her  sense  of importance  will  help  her  in  assuming  her  femininity.  Nevertheless,  she  is  deprived  of happy freedom, the carefree aspect of childhood; having become a woman precociously, she learns all too soon the limitation this estate imposes upon a human being; she reaches adolescence as an adult, which gives her history a special character” (The Second Sex: 289). 

戏仿与颠覆：女性主义视角下《蝴蝶君》与《蝴蝶夫人》

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2.2 The Transcendence of Women

Because  of  Immanence,  women  are  unable  to  take  adequate  measures  to  fight against  patriarchal  oppression. According  to  Beauvoir, Transcendence  designates  the opposite male lot: active, creative, productive, influential, extending outward into the external universe. Beauvoir also points that:

“Man  assures  the  repetition  of  life  while  transcending  Life本论文由英语论文网提供整理，提供论文代写，英语论文代写，代写论文，代写英语论文，代写留学生论文，代写英文论文，留学生论文代写相关核心关键词搜索。