DRAG QUEEN CULTURE: THE INTERACTION OF FEMINITY AND THE MALE EGO IN D. H. HONG’S PLAY "M. BUTTERFLY"

Abstract

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.