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Kim, Hye-jin. “The Absence of Masculinity in David Henry Hwang’s M. Butterfly.” Studies on English Language & Literature. 35.4(2009): 17-38. In this paper, I tried to point out the absence of masculinity in M. Butterfly through two main characters Gallimard and Song. Gallimard is obsessed with a vision that he gets submissive Cho-Cho-San like Pinkerton someday, so after he meets Song who swears unconditional obedience, he experiences the change of his masculinity based on fictional eastern female identity created by eastern male Song. Gallimard’s persona, which is the masks to play a variety of roles having culturally determined behavioral expectations, is heterosexual and extroverted masculinity but his anima, a feminine inner personality in the unconscious of the male, is introverted feminine. As the western female has an extroverted personality, Gallimard doesn’t establish his male identity in western culture. Gallimard establishes his male identity by creating perfect woman, Song, who manipulates Gallimard’s anima projections and becomes the controller of the relationship. In contrast, Song performs his gender by disguising himself as woman to establish Gallimard’s masculinity and do espionage. Song’s persona is introverted feminine but his animus, a masculine inner personality in the unconscious of the female, is western masculinity. After Song discloses his physical identity, Gallimard refuses the new relationship with Song because if he accepts Song’s offer, he considers himself as homosexual. Not revealing his homosexuality in homophobic society, Gallimard chooses death turning into an eastern woman, Madame Butterfly. Like Gallimard, Song can’t establish his perfect masculinity as an Oriental. Consequently there is neither western nor eastern man on this stage. (Dong-A University)