論普法戰爭後法國東方主義歌劇裡「自我」和「他者」的性別化：以《拉克美》、《泰綺思》和《黃種公主》為例

Abstract

在1870-1871年普法戰爭對德國和法國有很大的影響。德國從戰爭中獲益而建立了第二帝國；而法國則割讓給普魯士阿爾薩斯 - 洛林的領土。這樣一個大的崩潰質疑法國作為一個民族國家的身份，並威脅法國國家形象被女性化。因此，為法國重新定位自己以及尋找集體認同的民族主義精神成為當務之急。根據Annegret Fauser的歷史研究，法國對尋找身分認同的嘗試之一是“ 雄性化 ”法國文化。因此，愛國歌曲和愛國的聲樂作品，成為在普法戰爭後，法國強調他們的陽剛氣質的手段。另一種嘗試是用性別區分「自我」和「他者」：簡單地說，這種嘗試把東方女性化後而隨之被代表雄性的西方所征服。這個現象證明薩義德的論點，「東方主義[被認為]為一個西方式的支配，重組和施予權力於東方。」在這同時，有相當數量的法國東方主義歌劇出現，而且數量上超過那些在普法戰爭之前。本論文論述的重點在於這些東方主義歌劇出現反映了普法戰後在法國所形成的愛國主義。藉由舉出德利伯的《拉克美》、馬斯奈的《泰綺思》和 聖桑的《黃膚公主》為例，本論文想指出，法國的東方歌劇積極參與上述的企圖：性別化「自我」和「他者」。本文陳述了在音樂上，普法戰爭後，法國是如何區別「自我」與「他者」；而法國的民族主義又是如何轉移成用陽剛的「自我」征服女性化的「他者」；最後討論這些現象又是如何呈現在普法戰爭後的東方歌劇裡。

The Franco-Prussian war in 1870-1871 brought a great impact on both Germany and France. Germany benefited from the war the establishment of the Second Empire while France was taken the territory of Alsace-Lorraine by Prussia. Such a great debacle challenged France’s identity as a nation-state and threatened the French national image to be feminized. Thus, it became a central preoccupation for the French to find a means to re-orient their collective identity in a nationalist spirit. According to Annegret Fauser’s historical research, one of the identity-searching attempts was to ‘masculinise’ the French culture. Accordingly, patriotic songs and patriotic choice of subjects for vocal music emerged as to respond the Franco-Prussian War by emphasizing their masculine qualities. A further attempt was to differentiate ‘self’ and ‘Other’ in gender terms: Simply put, this attempt feminizes the Orient to be conquered by the West, e.g., the French; it testifies Edward Said’s thesis that “Orientalism [is seen] as a Western style for dominating, restructuring, and having authority over the Orient.” After the Franco-Prussian War, a considerable number of French oriental operas emerged and they outnumbered those before the war since this genre was cradled at the beginning of 19th century. By citing examples from Léo Delibes’ Lakmé, Jules Massenet’s Thaïs and Charles-Camille Saint-Saëns’ La Princesse Jaune, this paper argues that French oriental operas actively participated the aforementioned attempts by gendering the self and the Other. This paper demonstrates how musically, after the Franco-Prussian War, French nationalism was translated into French oriental operas by affirming the masculine ‘self’ that conquers the feminine ‘Other’.