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 L&;eacute;o Delibes’ Lakm&;eacute;, Jules Massenet’s Tha&;iuml;s and Charles-Camille Saint-Sa&;euml;ns’ 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’.
This sentence doesn’t quite make sense to me. Can you please try to rewrite it by breaking it up into smaller units?
It doesn’t make sense to me either. By the way, nation state should not be hyphenated.