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	CBU - Honors Journal - Identity Problem in M. Butterfly
		Gallimard can only respect himself if he has a woman who does not have a mind of her own, whose only thought is of pleasing her man at all costs.
		Gallimard recognizes the change in Song, admitting that her “drawing back at the moment of [his] capitulation” may have been her smartest move, but by this point he is so smitten that almost nothing she could do would change his feelings (1396).
		Gallimard does not consider at length the implications of his lover being both a man and a spy— his heart is broken because his lover was a real person, not the Perfect Woman he had constructed in his mind.
	www.cbu.edu /Academics/honors/hj2k4_identity.htm (2298 words)

	Éditions Gallimard
		Gallimard's father also possessed large collection of rare first editions and used his wealth to finance the printing of deluxe editions, sometimes limited to as few as two or three copies.
		Gallimard wishes to be worthy of the literary heritage and values which presided over its creation, while at the same time preserving its financial and commercial independence, and developing original market strategies.
		Gallimard's hopes to resume publication were kindled by two special issues that had been permitted.
	www.referenceforbusiness.com /history/1-Al/-ditions-Gallimard.html (4059 words)

	Confronting the Stage: M. Butterfly and A Tempest as Examples of Postcolonial Drama
		Gallimard is not terribly respected, and he is somewhat bungling and foolish.
		Regardless, when Gallimard begins his affair with Song, he is already thinking of her as "Butterfly," and it isn’t long before he begins calling her that and openly discussing his desire for the stereotype of the Oriental woman.
		Indeed, Gallimard’s willingness to go along with Song’s "mysterious Oriental ways," which allows him to overlook the fact that she is a man, suggests a fascination and romanticization, on his part, of the Orient.
	www.wdog.com /rider/writings/butterfly_tempest.htm (1845 words)

	Feminism in M. Butterfly (Site not responding. Last check: 2007-11-04)
		Gallimard further demonstrates his lack of knowledge by responding to this with "What happens in the morning?" His unenlightened attitude again displays a sensitivity to women by acknowledging their feelings the next day, by even admitting their physical presence the next day, something which Marc doesn't even account for in his short speech.
		Gallimard further concedes the power of women when he says "I'm afraid they'll say no," because this exhibits his belief in the strength of a woman through her ability to reject.
		For instance, she labels the penis a "weenie," which is clearly diminutive and demeaning nomenclature; this classification is threatening to the male need for control because of its derisive tone, and the way it categorizes the organ, symbol of male power, in such a juvenile manner.
	www.cs.umbc.edu /~evans/mbutterfly.html (1762 words)

	M. Butterfly
		If Gallimard knew anything about the Beijing opera he'd know that meant Song was a man, but as Song says the reason men play the female roles is that "only a man knows how a woman is supposed to act." Song is an actress who performs the opera of their love.
		Gallimard is fascinated with the idea of Orientalism and with his relationship with Song he seeks to become what he is not.
		Gallimard had a few decades with his "perfect woman," the woman who really was true to his fantasies because unlike the dreams of simply meeting or being with someone that fall way short because they are different in reality than in your mind, Song is the most willing participant.
	www.metalasylum.com /ragingbull/movies/butterfly.html (3528 words)

	[No title]
		Gallimard, possibly suspicious of the actual probability of his dream Butterfly existing, was not ready to undress Song and thus end his fantasy.
		Gallimard here exhibits sexual ambiguity as he expresses a sort of brotherhood with the man behind Song’s creation, for he recognizes how to construct a proper woman by Gallimard’s standards, while at the same time admitting that no natural woman could satisfy his desires.
		Gallimard was an other to himself, his false identity eventually abandoned, deconstructed as it was, while he built a new identity based on what few truths he could gather from his fantasies.
	www.tcnj.edu /~colgan2/dramafinal.doc (2641 words)

	Philippe Sollers - Wikipedia, the free encyclopedia
		In 1960 he founded the avant garde journal Tel Quel published by Seuil which ran until 1982.
		In 1982 Sollers then created the journal L'Infini with Denoel which was later published under the same title by Gallimard for whom Sollers also directs the series.
		Sollers was at the heart of the intense period of intellectual unrest present in the Paris of the 1960s and 1970s.
	en.wikipedia.org /wiki/Philippe_Sollers (395 words)

	Michelle T. Hall \| Arena Stage \| Colveyco \| JV Harvey Art & Poetry
		Hwang usurps the original psychosexual dynamic of the opera by having Gallimard end as the spurned lover (the feminine role) even as he dreams of being the betrayer (the masculine role).
		When the play begins, Gallimard is a rather mediocre man, a junior diplomat who said, "Passion, I banish, and in its place–practicality," upon marrying his plain but well-connected wife.
		Gallimard's love for Song as Butterfly represents the human longing for absolute beauty and perfect love in an otherwise mediocre, lackluster world, the divine spark that makes life worth living.
	colveyco.com /newsletters/m-butterfly.html (572 words)

	Feminism in M. Butterfly (Site not responding. Last check: 2007-11-04)
		Gallimard further demonstrates his lack of knowledge by responding to this with "What happens in the morning?" His unenlightened attitude again displays a sensitivity to women by acknowledging their feelings the next day, by even admitting their physical presence the next day, something which Marc doesn't even account for in his short speech.
		Gallimard further concedes the power of women when he says "I'm afraid they'll say no," because this exhibits his belief in the strength of a woman through her ability to reject.
		For instance, she labels the penis a "weenie," which is clearly diminutive and demeaning nomenclature; this classification is threatening to the male need for control because of its derisive tone, and the way it categorizes the organ, symbol of male power, in such a juvenile manner.
	www.csee.umbc.edu /~evans/mbutterfly.html (1762 words)

	WowEssays.com - Illusion In M. Butterfly
		Gallimard becomes as sick as his idol Pinkerton when talks about Song's reaction to his affair It was her tears and her silence that excited me, every time I visited Renee(769).
		Gallimard never sees her pregnant yet he still chooses to turn his back on reality and looks to illusion.
		Gallimard is so desperate to hang on to his Pinkerton-like identity that he consciously chooses to turn his back on reality and find solace within illusion.
	www.wowessays.com /dbase/ac2/xht221.shtml (567 words)

	M. Butterfly - David Henry Hwang (Site not responding. Last check: 2007-11-04)
		Told in a post-modern narrative by the main character, Rene Gallimard, a French diplomat who was posted to Beijing from 1960 to 1970, the play opens as the protagonist paces in a prison cell.
		Gallimard tells Song, “You showed me your true self when all I loved was a lie.” Thus, Hwang flip-flops who the tragic character is, such that Gallimard, who thinks of himself as the macho Pinkerton, husband of the bereft Madama Butterfly, is the one abandoned and disgraced.
		Although Gallimard says at the opening that he was the boy voted least likely to be invited to a party, this married diplomat—after he took Butterfly as his mistress—has a fling with a bored Swedish girl attached to the diplomatic community.
	www.culturevulture.net /Theater7/MButterfly.htm (900 words)

	GradeSaver: M. Butterfly Essay: Masculinity, Femininity, and the Western Rape Mentality in "M. Butterfly"
		Gallimard transforms Song into a butterfly, but instead of transforming him into "a butterfly who would writhe on a needle", Gallimard is the one who eventually ends up trapped by his own fantasy (Hwang 32).
		Gallimard's desperate need for dominance exposes a vital weakness, which provids Song with the means by which to assert his freedom from the castration of the East by asserting his sexual power over a member of the elite West.
		The character of Gallimard is a tragic figure, because - as he readily admits to the audience - he does not wish to acknowledge the actuality of his situation, but chooses rather to continue to live in his imaginary world with his imaginary woman.
	www.gradesaver.com /classicnotes/titles/mbutterfly/essay1.html (1996 words)

	Common Memory: The Community Visual Art Challenge of Gwylène Gallimard
		Gallimard worked with schoolchildren in the process of the piece because she was overwhelmed with the experience of discovery.
		As an artist and a documenter, Gallimard's brilliance is her ability to look through all the layers of the experience, see each exactly for what it is, and then blend and blur their features together for a commentary on geographical and artistic exploration.
		When the artists were faced with tough attention-deficit and hostility problems — and sometimes near chaos — at these two schools, Gallimard did not sweep the controversies under the rug, but emphasized conflict resolution, encouraging her team to find solutions toward change, or at least to reflect seriously on the power struggles.
	www.communityarts.net /readingroom/archivefiles/2004/12/common_memory_t.php (4808 words)

	M. Butterfly blows audiences away with its energy and twisted plot - Silver Chips Online
		Gallimard explains that through the duration of the play, he will explain why he is in the cell (as visually established by bright white lights shining from above the tiled floor by designer Robert Wierzel).
		Once, when Gallimard throws down magazines to the ground in reflection, the lights match the sound and position themselves to illuminate the stage with extreme white light on the floor of the cellblock where Gallimard seamlessly continues his discussion of his conviction.
		Robbins emphasizes that the memories are told from Gallimard's perspective by having him dress in a robe for the entire play even while other actors change their outfits from scene to scene.
	silverchips.mbhs.edu /inside.php?sid=3801 (880 words)

	Compare Prices and Read Reviews on M. Butterfly at Epinions.com (Site not responding. Last check: 2007-11-04)
		Gallimard, somewhat shocked, chooses not to see her naked because he thinks that he would wield too much power of the Oriental.
		When Song leaves with the baby, Gallimard remarks on his feelings toward her: “It is possible that her stubborness only made me want her more...But it is also possible that by this point she could have said, could have done...
		Here, Gallimard, the once respected, powerful Westerner purges his emotions and tells of his mistakes that were made over a course of a lifetime: “My mistakes were simple and absolute—the man I loved was a cad, a bounder.
	www.epinions.com /book-review-1646-1DB2A7C2-3856DB69-bd3 (1114 words)

	WIPO Domain Name Decision: D2000-0929
		The Respondent Gallimard maintains that Gallimard is his surname and that he has been using the domain name "gallimard.com" for over 2 years.
		Therefore, in the Panel’s opinion, the burden is placed on the Respondent Gallimard to rebut this evidence by providing a credible and probative response that (i) he is in fact the owner and that if he is, (ii) that he has a legitimate right and interest.
		The Respondent Gallimard provided some evidence that he had obtained ownership via the services of the other Respondent, Globemedia in the form of an e-mail (exhibit D to the Response) from the Domain Name’s technical representative, Linda Blass (who is evidently not at arm’s length to the Respondents).
	arbiter.wipo.int /domains/decisions/html/2000/d2000-0929.html (2392 words)

	Les éditions Gallimard: Maison d'edition
		Gallimard devient alors un groupe d'édition à part entière, réunissant les Éditions Denoël (1951), les Presses d'aujourd'hui (1951), le Mercure de France (1958) et les Éditions de la Table Ronde (1958).
		Gallimard développe à partir des années 1970 un secteur d'édition pour la jeunesse particulièrement dynamique.
		Le «département» Gallimard Jeunesse est filialisé en 1991 et, dans un climat très concurrentiel, opère en 1999 un rapprochement de ses activités avec le groupe Bayard ; la coentreprise ainsi créée devient leader hexagonal.
	www.gallimard.fr /maison_d_edition.html (868 words)

	Marcel Proust Letters, Articles, Translations
		Rediscovered by Philip Kolb after being forgotten for 80 years and published by NRF, Gallimard 1978.
		Article appeared in the Revue d'Art dramatique, January 1897 and reprinted in Chroniques (Libraire Gallimard, 1927).
		A rather eccentric literary pastiche, in the style of the Goncourt brothers.
	www.yorktaylors.free-online.co.uk (1420 words)

	'Butterfly' flutters with deception and new production is straight on \| The San Diego Union-Tribune
		In the case of Rene Gallimard, the French diplomat at the center of the play, it's the conviction (highly mistaken, as it happens) that the Chinese opera starlet he's been dallying with is a Madama and not a Mister.
		As Gallimard, Jesse MacKinnon has not only the requisite French accent but also a convincing sense of being enraptured by Butterfly, to the point of defying all reason.
		Melissa Fernandes is funny and affecting as Gallimard's clueless, put-upon wife, while Kim Miller and Emily Anne Smith show versatility in multiple roles and Puay Kua and Kathy Song add atmosphere as a pair of traditional dancers.
	www.signonsandiego.com /uniontrib/20040322/news_1c22butter.html (683 words)

	[No title]
		Respondent In the Response the Respondent Gallimard alleges that the Domain Name is owned by himself through contract with the Respondent Globemedia, who had registered it for the Respondent Gallimard at his request.
		The Respondent Gallimard provided some evidence that he had obtained ownership via the services of Globemedia in the form of an e-mail (exhibit D to the Response) from the Domain Name “gallimard.com”’s technical representative, Linda Blass (who is evidently not at arm’s length to the Respondents).
		The Panel is of the opinion that a document generated after the fact (the e-mail is dated September 8th, 2000) which is self serving and made by party so closely related to the parties to the case lacks credibility and therefore alone cannot suffice to prove or disprove an allegation.
	arbiter.wipo.int /domains/decisions/word/2000/d2000-0930.doc (2723 words)

	Selected Annotated Bibliography of D (Site not responding. Last check: 2007-11-04)
		She is supposed to sing in Italian in the opera, and she and Gallimard, a Chinese and a Frenchman, speaking in English.
		In the final scene, Deeney believes, the butterfly has revealed herself to Gallimard, but the confusing transformation is not over, and eventually it is Gallimard who is the butterfly at the end with a reversal of roles.
		Gallimard’s undoing is the disintegration of the male and female into male and male.
	webhost.bridgew.edu /gsiddiqui/sample_annotated_biblio.htm (915 words)

	If I told you a story about a French diplomat who fell in love with a Chinese opera singer who not only turns out to be ... (Site not responding. Last check: 2007-11-04)
		When Gallimard sees Song play the death scene from the opera, he cannot separate her from the role she/he is playing.
		Even though Gallimard at this point turns to us and says “So much for protecting her in my big Western arms” (Hwang 18) he is still however, entangled in his stereotypical views of the Orient.
		Gallimard is a delusional man, nothing more to it, he fell in love with something that never existed and that love blinded him from all reason.
	www.public.asu.edu /~syan2/assignment2.html (1588 words)

	:: rogerebert.com :: Reviews :: M. Butterfly (xhtml)
		The French, who consider themselves expert on matters sexual, were baffled by that question during the celebrated trial of Rene Gallimard, an attache at the French embassy in Peking - who, it was revealed, conducted an affair for years with a Peking Opera star who was both a man and a spy.
		The answer is that Rene Gallimard did not know because he did not want to know.
		The central question of the Gallimard case - "Why didn't he realize that this was a man?" - was somehow sidestepped in Hwang's stage play, freeing it to move on to his other issues.
	rogerebert.suntimes.com /apps/pbcs.dll/article?AID=/19931008/REVIEWS/310080302/1023 (651 words)

	Term Papers On Gallimard, Research Papers, Essays (Site not responding. Last check: 2007-11-04)
		Gallimard’s view of Song as a woman is embedded in his nature as a Western white man. The most obvious reason for his failure to recognize Song as a man is that she never undresses even in their most intimate moments.
		Gallimard ascribes her extreme modesty to her Chinese culture, and Song is...
		Gallimard’s love for Song is to a great extent...
	www.essaysportal.com /essay/gallimard.html (246 words)

	“A former French diplomat and a Chinese opera singer have been sentenced to six years in jail for spying for China ...
		Gallimard: They say in opera the voice is everything.
		Gallimard: Cio-Cio-San, also known as Butterfly, is a feminine ideal, beautiful and brave.
		Gallimard: I saw Pinkerton and Butterfly, and what she would say if he were unfaithful … nothing.
	www.humanities.uci.edu /mclark/HumCore2001/Core2000Archive/mbuter1.html (849 words)

	Pierre Klossowski - Wikipedia, the free encyclopedia
		(French) Un si funeste désir (Paris: Gallimard, 1963)
		(French) Les Lois de l'hospitalité (Paris: Gallimard, 1965) (trilogy of the 'Roberte' novels: La Révocation de l'Édit de Nantes (1959), Roberte ce soir (1954), and Le Souffleur (1960))
		(English)/(French) Diana at Her Bath/the Women of Rome Marsilio Publishers, 1998, ISBN 1568860552 (original edition Le Bain de Diane, Paris, Gallimard, 1980)
	en.wikipedia.org /wiki/Pierre_Klossowski (298 words)

	The Oberlin Review \\ Arts Article
		In a play as multi-faceted as this, it takes an extremely strong and talented group of actors to make the audience believe that what Gallimard is going through is the ultimate struggle between his head -where his ego resides - and his heart - where his emotions lie.
		Early in the first scene, Gallimard proclaims to the audience from his jail cell that "men should be scratching at my door begging for my secrets." The performance did not warrant that sort of interest or support.
		Because the play is a memory piece, and because it is essentially Gallimard's monologue, space and context must be clearly delineated by more than just the words of the script and the actors' body language and stage position.
	www.oberlin.edu /stupub/ocreview/archives/1999.09.24/arts/butterfly.html (1042 words)

	Salon \| Mothers Who Think: Les birds et les bees
		From snails to whales, a vast cross-section of the animal kingdom is depicted in small, graphically correct illustrations at (fore)play, mating, brooding and being born.
		One of the many Gallimard books that did make its way across the Atlantic, albeit with significant changes, is called "The Body." A sort of bio-anatomy lesson for toddlers, the book uses simple but lifelike illustrations of a boy, a girl and a baby, with plastic overlays describing everything from molecules to intestinal tracts.
		Before the book could be distributed in the U.S., Scholastic, American publisher of Gallimard books, required design changes that put clothes on the two toddlers and diapers on the baby (despite the fact that the baby's genitals are not apparent at all in the original French version).
	archive.salon.com /mwt/feature/1998/05/12feature2.html (921 words)

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