| Introduction: Incarnations of Butterfly | 第1-21页 |
| 1． Thesis Question | 第11页 |
| 2． Texts and Structure | 第11-13页 |
| 3． Review of Literature | 第13-18页 |
| 4． Methodology | 第18-21页 |
| Ⅰ．Part One: Madame Butterfly -Setting Up the Icon | 第21-50页 |
| Chapter One: John L． Long's Narrative （1898） | 第22-25页 |
| Chapter Two: Puccini's Opera （1904） | 第25-38页 |
| Chapter Three: Madame Butterfly and Orientalism | 第38-50页 |
| 3．1 Edward Said's Postcolonial Critique on Orientalism | 第38-40页 |
| 3．2 Madame Butterfly as an Orientalist Icon | 第40-46页 |
| 3．3 The Icon in work-Modem Madame Butterfly | 第46-50页 |
| Ⅱ． Part Two: M． Butterfly-Subversive Performance of the Icon | 第50-93页 |
| Chapter Four: Performing the Performance | 第52-64页 |
| 4．1 Performing Gallimard's Narrative | 第53-59页 |
| 4．2 Performing the Theatre | 第59-64页 |
| Chapter Five: Performing the （Im）Performable | 第64-93页 |
| 5．1 Performing Gender | 第66-80页 |
| 5．1．1 Gender in performance | 第67-70页 |
| 5．1．2 Gender as performance | 第70-75页 |
| 5．1．3 Gender is performance | 第75-80页 |
| 5．2 Performing Nationality | 第80-93页 |
| 5．2．1 Representing Nationality as Stereotypes | 第82-88页 |
| 5．2．2 What is in a Nationality （National Identity）? | 第88-93页 |
| Conclusion: Getting Away From Butterfly | 第93-95页 |
| Works Cited | 第95-98页 |
