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Journal articles on the topic 'Madam Butterfly'

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Author: Grafiati

Published: 10 December 2022

Last updated: 29 January 2023

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1

Basri, Hasan. "Social condition of japanense geisha as reflectd in short story Madame Butterfly by John Luther Long." COMMICAST 2, no. 1 (February 2, 2021): 15. http://dx.doi.org/10.12928/commicast.v2i1.2731.

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In this undergraduate thesis, the writer discusses short story Madam Butterfly written by John Luther Long. This study is aimed: (1) to describe the Geisha social life condition in Japanese society as reflected in Madame Butterfly (2) to describe the social class in Japanese society in 1903s as reflected in Madam Butterfly. In doing this research, the writer uses descriptive qualitative method which refers to description of things, characters, meaning and symbols. There are two types of data in this study.The findings of the research show that Geisha in Japan through Cho Cho San the main character in Madame Butterfly was a reflection of Geisha’s life condition in Japanese society. The writer conclude that Social condition of Geisha in Japan in 1930s are an entertainer because they are has been train for accompany all of the guests. Serve the drink, singing, dancing and playing music instrument were the Geisha’s job while accompany the guest. The guest also did some flirting to the Geisha. In 1930s American missionary and American Navy enter Japan for some mission, there are also American people who married Japanese girl. Beside the Geisha social life condition, there are two class in Japanese society that exist in 1903s Kazoku (Nobleman) and Heinin (Proletar). The social class in Japan in that time is very contrast between the Nobleman and Ploretar. Madam Butterfly include to high class people because of she married to a foreigner because according to Japanese, if they married a foreigner it can rise their social status.

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2

TATAR KIRILMIŞ, İlknur. "Postkolonyalizmi Masal Üzerinden Söyleme Dönüştürmek: “Masal” ve “Madam Butterfly Ölmeyi Reddederse”." Dil ve Edebiyat Araştırmaları/Journal of Language and Literature Studies 19, no. 19 (March 21, 2019): 139–58. http://dx.doi.org/10.30767/diledeara.542596.

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3

KYSLA, Svitlana. "The image of Chio-Chio-San from the opera “Madam Butterfly” in the context of Joacchino Puccini’s opera search." Humanities science current issues 2, no. 37 (2021): 21–26. http://dx.doi.org/10.24919/2308-4863/37-2-4.

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4

Ward-Griffin, Danielle. "As Seen on TV: Putting the NBC Opera on Stage." Journal of the American Musicological Society 71, no. 3 (2018): 595–654. http://dx.doi.org/10.1525/jams.2018.71.3.595.

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This article examines the relationship between opera on television and opera on the stage in America in the 1950s and 1960s. Using the NBC Opera (1949–64) as a case study, I trace both what television borrowed from the operatic stage and what television sought to bring to the stage in a relationship envisioned by producers as symbiotic. Focusing on the NBC's short-lived touring arm, which produced live performances of Madam Butterfly, The Marriage of Figaro, and La traviata for communities across America in 1956–57, I draw upon archival evidence to show how these small-scale stage productions were recalibrated to suit a television-watching public. Instead of relying on the stylized presentation and grand gestures typical of major opera houses, the NBC touring performances blended intimate television aesthetics with Broadway typecasting and naturalistic direction. Looking beyond the NBC Opera, I also offer a new model for understanding multimedial transfer in opera, one in which the production style of early television opera did not simply respond to the exigencies of the screen, but rather sought to transform the stage into a more intimate—and supposedly more accessible—medium in the mid-twentieth century.

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5

Groos, Arthur. "Return of the native: Japan inMadama Butterfly/Madama Butterflyin Japan." Cambridge Opera Journal 1, no. 2 (July 1989): 167–94. http://dx.doi.org/10.1017/s0954586700002950.

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By all accounts the premiere of Puccini'sMadama Butterflyat the Metropolitan Opera on 11 February 1907 was a triumphant success, with the presence of the composer adding special lustre to the brilliant performance of a distinguished cast. Amidst the general acclamation, however, a foreign visitor named Jihei Hashiguchi raised a dissenting voice in a letter to a local newspaper:I can say nothing for the music ofMadama butterfly. Western music is too complicated for a Japanese. Even Caruso' celebrated singing does not appeal very much more than the barking of a dog in faraway woods.

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6

Earnest, Steve. "Madama Butterfly (review)." Theatre Journal 56, no. 4 (2004): 701–3. http://dx.doi.org/10.1353/tj.2004.0158.

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7

Dineen, Phillip Murray. "Madama Butterfly (review)." Notes 63, no. 1 (2006): 173–74. http://dx.doi.org/10.1353/not.2006.0084.

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8

Shorr, Norman, and Martin K. Fallor. "“Madame Butterfly” Procedure." Ophthalmic Plastic & Reconstructive Surgery 1, no. 4 (1985): 229–35. http://dx.doi.org/10.1097/00002341-198501040-00003.

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9

GREENWALD, HELEN M. "Picturing Cio-Cio-San: House, screen, and ceremony in Puccini's Madama Butterfly." Cambridge Opera Journal 12, no. 3 (November 2000): 237–59. http://dx.doi.org/10.1017/s0954586700002378.

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I propose that certain ‘Japanese’ elements of Puccini's Madama Butterfly have cultural analogues that support a reading of the opera as more profoundly authentic than has usually been argued. My discussion begins with the house, the most basic scenic component of the opera, and develops via a number of interrelated issues: the Japanese home as the center of the life cycle, Puccini's choice of the home as his single set, and finally, Butterfly's ‘Vigil’ as the central event in an unfolding home-based life-cycle that raises issues of ritual and ceremony corresponding to values of the geisha culture.

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10

Oktenberg, Adrian, Yukiko Tanaka, Elizabeth Hanson, Hiroko Morita Malatesta, and Janice Mirikitani. "No More Madame Butterfly." Women's Review of Books 5, no. 5 (February 1988): 12. http://dx.doi.org/10.2307/4020199.

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11

Berg, Karl Georg Maria. "Liebesduett aus „Madama Butterfly“." Die Musikforschung 38, no. 3 (September 22, 2021): 183–94. http://dx.doi.org/10.52412/mf.1985.h3.1484.

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12

Bruder, H. "Madama Butterfly. Giacomo Puccini." Opera Quarterly 13, no. 2 (January 1, 1996): 161–63. http://dx.doi.org/10.1093/oq/13.2.161.

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13

Green, L. "Madama Butterfly. Giacomo Puccini." Opera Quarterly 13, no. 4 (January 1, 1997): 208–11. http://dx.doi.org/10.1093/oq/13.4.208.

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14

Peterson, F. Ellsworth. "Madama Butterfly. Giacomo Puccini." Opera Quarterly 5, no. 1 (1987): 138–39. http://dx.doi.org/10.1093/oq/5.1.138.

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15

Soviero, Diana. "On Playing Madame Butterfly." New Theatre Quarterly 11, no. 41 (February 1995): 12–16. http://dx.doi.org/10.1017/s0266464x00008836.

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We rehearsed here at the Bastille for eight weeks, very slowly. Every finger, every movement was specific because of the lighting. The lighting is one of the most important things in the show. He has about four hundred and fifty lights on the sides and above. We could not, for instance, be parallel to each other. We always had to be on a diagonal, because the lights from the side would shadow. My hands are very important in the production because they are lit at every angle. They are made up very much. My whole body's made up. Every gesture, every point of every finger, is at the character; and every movement reflects the light. If my fingers are open, the light comes through. If I close them, that means I'm angry and I let no light in. It's really incredible. He's a genius, the man, he's a genius.

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16

Groos, Arthur. "Madame Butterfly: The story." Cambridge Opera Journal 3, no. 2 (July 1991): 125–58. http://dx.doi.org/10.1017/s095458670000344x.

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One of the tasks of opera scholarship, broadly defined as an interdisciplinary enterprise, should be to include within its purview areas of investigation that have received little attention in purely musicological research. While it is obvious that libretto studies might form one such focus, there is a broader area that should not be ignored. This is the historical and cultural situation of opera and its reception, a subject usually excluded in formalist analyses and studies of musical sources or performance practice, often with the implicit assumption that the ‘aesthetic world’ of opera is self-contained or has nothing to do with the ‘real world’. Even if one does not subscribe to contemporary theory's penchant for subsuming art and history into textuality, the interactions between opera and its cultural context are many-sided and complex, and deserve full scholarly attention.

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17

Sheppard, W. A. "Giacomo Puccini: Madama Butterfly." Opera Quarterly 24, no. 1-2 (December 1, 2008): 139–47. http://dx.doi.org/10.1093/oq/kbp002.

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18

Shikō, Tsubouchi, Kyoko Selden, Lili Selden, and Arthur Groos. "The Takarazuka Concise Madame Butterfly." Review of Japanese Culture and Society 27, no. 1 (2015): 63–80. http://dx.doi.org/10.1353/roj.2015.0011.

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19

SHEPPARD, W. ANTHONY. "Cinematic realism, reflexivity and the American ‘Madame Butterfly’ narratives." Cambridge Opera Journal 17, no. 1 (March 2005): 59–93. http://dx.doi.org/10.1017/s0954586705001941.

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This article focuses on two cinematic versions of the ‘Madame Butterfly’ tale. Produced near the beginning of the sound era, the 1932 Madame Butterfly struggles to co-opt Puccini's opera and thereby create a fully cinematic Butterfly. My Geisha, created three decades later, aspires to subvert Orientalist representation by reflecting back upon Puccini's and Hollywood's Butterflies with hip sophistication. Both films work simultaneously with and against the Butterfly canon in intriguing ways and both are shaped by prevailing American perceptions of race and gender. In investigating the relationship between these films and Puccini's opera, I raise broader issues of comparative genre analysis, focusing particularly on exotic representation on stage and screen. Does film, in its bid to project exotic realism in both sound and image, succeed in surpassing the experience of staged Orientalist opera?

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20

Qvortrup, Lars. "“This is not Madama Butterfl y”: Hotel Pro Forma’s triple transformation of Puccini’s Madama Butterfl y." Peripeti 14, S6 (January 1, 2017): 76–79. http://dx.doi.org/10.7146/peri.v14is6.110672.

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21

Verdeau-Paillès, J., and M. F. Castarède. "Giacomo Puccini : « Madame Butterfly, c’est moi »." Annales Médico-psychologiques, revue psychiatrique 168, no. 5 (June 2010): 377–81. http://dx.doi.org/10.1016/j.amp.2010.04.012.

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22

Poulsen, Melissa Eriko. "Writing Madame Butterfly's Child." Amerasia Journal 43, no. 2 (January 2017): 158–75. http://dx.doi.org/10.17953/aj.43.2.158-175.

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23

Bailey-Harris, Rebecca. "Madame Butterfly and the Conflict of Laws." American Journal of Comparative Law 39, no. 1 (1991): 157. http://dx.doi.org/10.2307/840674.

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24

SARIARSLAN, Mehtap. "Giacomo Puccininin Madame Butterfly ve David Henry Hwangin M. Butterfly Adlı E." Journal of Turkish Studies 11, Volume 11 Issue 10 (January 1, 2016): 501. http://dx.doi.org/10.7827/turkishstudies.9439.

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25

송정경. "The Deconstruction of Madame Butterfly with Postmodern Ambiguities: David Henry Hwang's M. Butterfly." Journal of English Cultural Studies 8, no. 2 (August 2015): 127–54. http://dx.doi.org/10.15732/jecs.8.2.201508.127.

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26

Furlotti, Nancy Swift. "The Archetypal Drama in Puccini's Opera Madame Butterfly." Psychological Perspectives 53, no. 1 (February 26, 2010): 62–70. http://dx.doi.org/10.1080/00332920903543641.

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27

Rindom, Ditlev. "Gramophone Voices: Puccini and Madama Butterfly in New York, ca. 1907." 19th-Century Music 46, no. 1 (2022): 60–87. http://dx.doi.org/10.1525/ncm.2022.46.1.60.

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Puccini’s Madama Butterfly (1904) was a notorious failure at its world premiere: condemned by Italian critics for its “decorative” surfaces and apparent repetition of earlier Puccinian tropes. The first of the composer’s two operas based on works by American playwright David Belasco, the opera was soon revised and received its belated New York Metropolitan Opera premiere in 1907 as part of a festival of the composer’s works organized in his presence. The decision to visit New York was timely: not only had Belasco’s source play been premiered there in 1900, but New York was by then emerging as the global center of the operatic gramophone industry, with recordings of Puccini’s works made in Camden, New Jersey, frequently featuring performers from the Metropolitan Opera. This development echoed wider operatic power shifts between Italy and the United States at this time, which informed evolving attitudes to new sound reproduction technology on both sides of the Atlantic. This article re-examines Madama Butterfly from the perspective of Puccini’s 1907 tour. In particular, it focuses on the composer’s interactions with the U.S. gramophone industry during and before his New York visit, examining them in relation to broader questions of the Italian operatic future and ideas of Italian vocality. While Madama Butterfly has long been addressed in relation to its Orientalist depiction of Japan, reframing Puccini’s Belasco-inspired opera within this transatlantic context can illuminate the fraught cultural politics of the gramophone industry, as well as their intersection with the wider musical dramaturgy of Puccini’s opera. Ultimately, I argue, Madama Butterfly emerges as a vital document of a changing auditory culture ca. 1900, as well as of an ambivalent colonial imagination.

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28

Sheppard, W. Anthony. "Puccini and the Music Boxes." Journal of the Royal Musical Association 140, no. 1 (2015): 41–92. http://dx.doi.org/10.1080/02690403.2015.1008863.

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ABSTRACTThis article reveals the source for two major themes in Madama Butterfly – one associated with Butterfly herself, the other with her patrimony. The assumption has been that Puccini based these themes on Japanese melodies, but his source was actually a Swiss music box playing Chinese tunes. Specific moments in the opera indicate that Puccini was aware of the titles of these tunes. The sound of music boxes in Butterfly and Turandot suggests previously unnoticed connections between these operas. The music-box melodies may be traced to Fritz Bovet's transcriptions. Puccini encountered ‘Jasmine Flower’ on these boxes, and in Turandot reaffirmed its status as the token of Chinese music.

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29

Szuster, Magdalena. "The Butterfly Effect: Creating and Recreating the Story of Madame Butterfly, on Paper and on Stage." Text Matters: A Journal of Literature, Theory and Culture, no. 12 (November 24, 2022): 435–51. http://dx.doi.org/10.18778/2083-2931.12.26.

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The consequences of the partially coerced opening of Japan to the Western world in the second half of the 19th century went far beyond economic and political goals and considerations. The previously secluded land almost instantly became a source of artistic inspiration and endless fascination. Japonisme, the term by which the latest craze become known in France, was no passing fad. For many decades, Western artists, most of whom had never set foot in Japan, derived profound inspiration from all facets of the mysterious culture which unfolded in the period. Thus, with scant information and a lack of accurate records being available, common gossip and unfounded rumor filled in the blanks of official reports and naval tales, connecting the dots between the real and the imagined. In this paper, I succinctly examine the story of Madame Butterfly, cutting across time, genre and borders in the works of John Luther Long, David Belasco, Giacomo Puccini and Claude-Michel Schönberg/Alain Boublil. I contextualize the selected narratives within their socio-political frameworks, but also consider the ramifications of the past and present-day adaptations from the 21st-century perspective, in the light of current struggles for (adequate) representation. Lastly, I examine the production of Miss Saigon (2019–22) at the Music Theatre of Łódź, Poland to compare how the staging of such a musical in a predominantly racially homogenous country affects the perception of Orientalist works. As such this section is a case study based on personal interviews conducted by the author with the producers and cast members.

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30

Atlas, Allan W. "Crossed Stars and Crossed Tonal Areas in Puccini's Madama Butterfly"." 19th-Century Music 14, no. 2 (1990): 186–96. http://dx.doi.org/10.2307/746202.

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31

Atlas, Allan W. "Crossed Stars and Crossed Tonal Areas in Puccini's Madama Butterfly"." 19th-Century Music 14, no. 2 (October 1990): 186–96. http://dx.doi.org/10.1525/ncm.1990.14.2.02a00050.

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32

Goldberg, Steven H. "Sliding Walls and Glimpses Of The Other In Puccini’S Madama Butterfly." Psychoanalytic Quarterly 87, no. 3 (July 3, 2018): 479–95. http://dx.doi.org/10.1080/00332828.2018.1495518.

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33

Groos, Arthur. "Cio-Cio-San and Sadayakko: Japanese Music-Theater in Madama Butterfly." Monumenta Nipponica 54, no. 1 (1999): 41. http://dx.doi.org/10.2307/2668273.

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34

SCHICKLING, D. "PUCCINI'S 'WORK IN PROGRESS': THE SO-CALLED VERSIONS OF 'MADAMA BUTTERFLY'." Music and Letters 79, no. 4 (November 1, 1998): 527–37. http://dx.doi.org/10.1093/ml/79.4.527.

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35

Nasution, Fery Azani, Pedia Aldy, and Mira Dharma Susilawaty. "KAJIAN ARSITEKTUR BIOMIMIKRI DALAM PERANCANGAN ROKAN HULU BUTTERFLY PARK AND CONSERVATION CENTER." Jurnal Arsitektur ZONASI 3, no. 3 (October 20, 2020): 322–37. http://dx.doi.org/10.17509/jaz.v3i3.26876.

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Abstract: Rokan Hulu is a region that is rich in biodiversity, with natural tropical conditions making Rokan Hulu a suitable habitat for flora and fauna. One of them is butterfly fauna. There are various types of endemic butterflies preserved in the tourist area of Hapanasan Rokan Hulu which has an information center and butterfly breeding, which is one of the most visited tourist attractions in Rokan Hulu. The Rokan Hulu Butterfly Park and Conservation Center are a butterfly research and breeding facility that serves as a conservation area and educational activities, to provide updated information about butterflies for the public. By implementing Biomimicry Architecture, it is able to create a relationship between architecture and nature by implementing natural strategies into building designs. Through the concept of 'butterfly metamorphosis' and transformed with biomimicry architecture approach, this building has architectural qualities that can stimulate the life of the butterfly habitat and plants as source of food.Keywords: Biomimicry; Butterfly Park; Conservation Center Abstrak: Rokan Hulu merupakan daerah yang kaya akan keanekaragaman hayati yang sangat tinggi. Kabupaten ini memiliki keadaan alam yang beriklim tropis sehingga menjadikan Rokan Hulu sebagai habitat yang cocok untuk flora dan fauna salah satunya adalah fauna kupu-kupu. Terdapat berbagai macam jenis kupu-kupu endemik yang dilestarikan di kawasan wisata Hapanasan Rokan Hulu yang memiliki pusat informasi dan penangkaran kupu-kupu yang merupakan salah satu kawasan wisata yang paling banyak dikunjungi di Rokan Hulu. Rokan Hulu Butterfly Park and Conservation Centre merupakan wadah penelitian dan penangkaran kupu-kupu yang berfungsi sebagai ruang interaksi kegiatan konservasi dan edukasi, sehingga dapat memberikan informasi mengenai kehidupan kupu-kupu kepada masyarakat. Dengan implementasi Arsitektur Biomimikri, pendekatan arsitektur ini mampu menciptakan hubungan antara arsitektur dan alam dengan mengaplikasikan strategi alam ke dalam rancangan bangunan. Melalui konsep ‘metamorphosis kupu-kupu’ dan ditransformasikan dengan pendekatan arsitektur biomimikri bangunan ini memiliki kualitas arsitektur yang dapat menstimulasi kehidupan habitat kupu-kupu dan tanaman yang menjadi sumber makanannya.Kata Kunci: Biomimikri; Butterfly Park; Conservation Center

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36

Shin, Keunhye, and Moonjung Park. "Sao Krua fah: The Reception and Adaptation of Madama Butterfly in Thailand." Journal of East-West Comparative Literature 54 (December 31, 2020): 261–86. http://dx.doi.org/10.29324/jewcl.2020.12.54.261.

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37

Bogoderova, A. A. "Temporary marriage as Russian literary pattern in the 19th – early 20th century." Sibirskiy filologicheskiy zhurnal, no. 3 (2020): 92–106. http://dx.doi.org/10.17223/18137083/72/7.

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The paper deals with the subject of temporary marriage between Russian sailors and Japanese women in fictional and non-fictional literature. The literary pattern of temporary marriage includes time limitation of the marriage, the language or/and cultural barrier and the man’s leaving at the end. The time limitation sometimes makes one or both spouses consider this marriage as legal, but “not true.” There are two main variants of the pattern in Russian travel notes of the 19th − early 20th century. The first is the positive one (A. Krasnov, D. Schreider, and N. Bartoshewsky). Both husband and wife are kind-hearted people, their family life is pure and real, although they do not entirely understand each other’s language. The second is the negative one (F. Knorring, D. Armfelt, G. de Vollan, and Vinogradov). Husband and wife are both pragmatic, rational, and cold, with the whole tradition turning into a sort of prostitution and insincere comedy. The plot variants, with one of the spouses being pragmatic, mercantile and cruel, and another loving, faithful, and suffering, are not common. Yuzhakov’s travel notes include such a rare case. The asymmetrical variant was more popular in Western fiction (Madame Butterfly). Russian fiction prefers the positive variant of the pattern. In short stories by D. Persky and M. Volkonsky, the authors transform the motives from Madame Chrysanthème by P. Loti and Madame Butterfly by J. L. Long by showing the Russians as noble people and achieving a happy end wherever possible.

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38

Gaidash, Anna, and Andrii Mykhailiuk. "DRAG QUEEN CULTURE: THE INTERACTION OF FEMINITY AND THE MALE EGO IN D. H. HONG’S PLAY "M. BUTTERFLY"." LITERARY PROCESS: methodology, names, trends, no. 19 (2022): 33–38. http://dx.doi.org/10.28925/2412-2475.2022.19.4.

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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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39

Fullan, Danielle Cristine. "A ADAPTAÇÃO TRANSCULTURAL EM OS SETE AFLUENTES DO RIO OTA DE ROBERT LEPAGE." Pontos de Interrogação — Revista de Crítica Cultural 7, no. 1 (August 29, 2017): 57. http://dx.doi.org/10.30620/p.i..v7i1.3930.

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Robert Lepage é conhecido pela mescla de diferentes dispositivos midiáticos e o uso de outras manifestações artísticas para a composição de suas produções. A peça Os Sete Afluentes do Rio Ota, por exemplo, pode ser considerada um produto intermidiático por excelência, a partir do diálogo que estabelece com a ópera Madama Butterfly. Este artigo analisa essa relação especialmente sob o ponto de vista da adaptação transcultural proposto por HUTCHEON (2006).

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40

Hatch, C. "Madame Butterfly: Japonisme, Puccini, and the Search for the Real Cho-Cho-San." Opera Quarterly 18, no. 1 (January 1, 2002): 72–75. http://dx.doi.org/10.1093/oq/18.1.72.

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41

Ling, R. "Small-Holdings and Papery Houses: The Making of Michael Longley's Miniature, 'Madame Butterfly'." English 52, no. 202 (March 1, 2003): 53–63. http://dx.doi.org/10.1093/english/52.202.53.

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42

Joo, Hyun-ho. "자기유혹과 식민적 모방의 붕괴: 영화 「엠. 버터플라이」와 이전 버터플라이 스토리 비교 분석." Hankuk University of Foreign Studies Literature Studies 88 (November 30, 2022): 69–89. http://dx.doi.org/10.22344/fls.2022.88.69.

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Through an in-depth analysis of the main characters and their relationship inDavid Cronenberg’s film M. Butterfly compared mainly to those in John LutherLong’s short story “Madame Butterfly,” this paper affords us a renewedunderstanding of the Orientalist hierarchy between the West and the East.The paper argues that, by constructing the multilayered identities of andcomplicated relationship between the main characters, René Gallimard andSong Liling, who cross the gendered and racially defined boundaries, thefilm deals critically with the Orientalist view of the West toward an Easternfeminine love, in which a beautiful, submissive Eastern woman is selflesslydevoted to a Western man. Using the ideas of self-seduction,self-deception, colonial mimicry, the Third Space, etc., the paper also pointsout the limitations of their crossing of the boundaries. That is, Gallimardcontinues blindly fantasizing about Oriental femininity to the end of the filmand Song’s deception and manipulation of Gallimard and his threats toGallimard’s superior position do not allow him to form a mutual partnershipwith Gallimard.

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Lo, Patrick, and Ricky Tsang. "A Butterfly with Clipped Wings: An Analytical Study of the Fantasy and Reality behind the Italian Opera Madama Butterfly by Giacomo Puccini." International Journal of the Arts in Society: Annual Review 3, no. 1 (2008): 59–96. http://dx.doi.org/10.18848/1833-1866/cgp/v03i01/35441.

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Liao, Ping-hui. ""Of Writing Words for Music Which Is Already Made": "Madama Butterfly, Turandot", and Orientalism." Cultural Critique, no. 16 (1990): 31. http://dx.doi.org/10.2307/1354344.

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Miyao, Daisuke. "The Hand of Buddha: Madame Butterfly and the Yellow Peril in Fritz Lang'sHarakiri(1919)." Quarterly Review of Film and Video 33, no. 8 (May 5, 2016): 707–21. http://dx.doi.org/10.1080/10509208.2016.1172937.

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Wai Jim, Alice Ming. "Queer Canadiana and Madama Butterfly's Legacy in Three Acts: Playwrighting Orientalism." Amerasia Journal 31, no. 1 (January 2005): 104–10. http://dx.doi.org/10.17953/amer.31.1.lm2821p588578j02.

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Vidaurre-Arenas, Carmen V., and Arturo Morales-Campos. "Transtextualidad y tipologías culturales en el cortometraje Aria." La Colmena, no. 114 (June 16, 2022): 87. http://dx.doi.org/10.36677/lacolmena.v0i114.16206.

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Se muestran algunas funciones de la transtextualidad propuestas por Gérard Genette, los contrastes entre determinados tipos culturales abordados por Iuri Lotman, y la presencia de acciones simbólicas y caracterizaciones de los personajes dentro del cortometraje animado Aria (2001), de Pjotr Sapegin. En concreto, se analizan, por un lado, las posibilidades semióticas de las relaciones que mantiene el hipotexto (la ópera de Giacomo Puccini, Madama Butterfly) con el hipertexto (el propio texto cinematográfico) y, por el otro, las repercusiones políticas e ideológicas que transcriben los contrastes entre los dos tipos culturales principales presentes en dicho filme (la tradición japonesa y la estadounidense).

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Shorr, Norman. "Madame Butterfly Procedure with Hard Palate Graft: Management of Postblepharoplasty Round Eye and Scleral Show." Facial Plastic Surgery 10, no. 01 (January 1994): 90–118. http://dx.doi.org/10.1055/s-2008-1064559.

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Rewa, Natalie. "A Vision of the Orient: Texts, Intertexts and Contexts of Madame Butterfly (review)." University of Toronto Quarterly 77, no. 1 (2008): 295–97. http://dx.doi.org/10.1353/utq.0.0112.

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Lin, C. Huie, and Michael J. Reardon. "Commentary: Chronic thromboembolic pulmonary hypertension in Austria and Japan: The Sound of Music meets Madame Butterfly." Journal of Thoracic and Cardiovascular Surgery 158, no. 2 (August 2019): 615–16. http://dx.doi.org/10.1016/j.jtcvs.2019.01.080.

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