CAJ | 학술논문

本文旨在以异质混杂理论为参照,以《蝴蝶君》为例,探讨全球化背景下实现世界民族共生的策略和方式。论者提出,霍米·巴巴的异质混杂理论是通过对主流话语进行混杂,制造新的＂第三空间＂,从而消解西方主流二元对立的本质主义论调。而黄哲伦的《蝴蝶君》正是巴巴理论成功的舞台实践案例,该作品不仅在结构上侵蚀、杂糅、最终改写了普契尼传统歌剧《蝴蝶夫人》的话语结构,更重要的是通过剧中东方的代表宋丽玲易装、示弱等一系列混杂策略,逐步消解加利马尔所代表的西方文化的权威。
본문지재이이질혼잡이론위삼조,이《호접군》위례,탐토전구화배경하실현세계민족공생적책략화방식。론자제출,곽미·파파적이질혼잡이론시통과대주류화어진행혼잡,제조신적＂제삼공간＂,종이소해서방주류이원대립적본질주의론조。이황철륜적《호접군》정시파파이론성공적무태실천안례,해작품불부재결구상침식、잡유、최종개사료보계니전통가극《호접부인》적화어결구,경중요적시통과극중동방적대표송려령역장、시약등일계렬혼잡책략,축보소해가리마이소대표적서방문화적권위。
In light of the hybridity conception proposed by Homi K.Bhabha,this paper examines David Henry Hwang＇s play M.Butterfly as a case in point to explore a symbiotic strategy and way of world cultures in the context of globalization.In Bhabha＇s conception,a third space is created in the process of hybridity,effectively dissolving the essentialism of binary oppositions in the mainstream Western discourse.It is argued that Hwang＇s play is a successful dramatic embodiment of Bhabha＇s theory in that M.Butterfly has not only structurally subverted Puccini＇s Madame Butterfly through a hybridized parody and but also substantially dissolved Gallimard＇s Western phallus-centrism through Song Liling＇s cross dressing and intentional low-profile activities.