跳到主要內容

臺灣博碩士論文加值系統

(44.222.189.51) 您好!臺灣時間:2024/05/18 17:47
字體大小: 字級放大   字級縮小   預設字形  
回查詢結果 :::

詳目顯示

我願授權國圖
: 
twitterline
研究生:劉蕙瑜
研究生(外文):Isabella Hui-Yu Liu
論文名稱:管窺老子陰陽變化:試論邱琪兒白金漢之光,頂尖女孩,九霄雲外三劇性別政治之建構
論文名稱(外文):The Dynamics of Lao-tzu's Yin and Yang: Mapping Caryl Churchill's Sexual Politics in Light Shining in Buckinghamshire, Top Girls, and Cloud Nine
指導教授:劉雪珍劉雪珍引用關係
指導教授(外文):Cecilia H. C. Liu
學位類別:碩士
校院名稱:輔仁大學
系所名稱:英國語文學系
學門:人文學門
學類:外國語文學類
論文種類:學術論文
論文出版年:1999
畢業學年度:87
語文別:英文
論文頁數:137
中文關鍵詞:性別政治陰陽有無太極對立/共融父權政治母權政治
外文關鍵詞:sexual politicsyin/yangyu/wuT'ai-chipolarization/mutualitypatriarchal hierarchymatriarchal hierarchy
相關次數:
  • 被引用被引用:0
  • 點閱點閱:207
  • 評分評分:
  • 下載下載:0
  • 收藏至我的研究室書目清單書目收藏:0
中文摘要
本文試圖就老子陰陽有無變化之觀點,探討邱琪兒白金漢之光、頂尖女孩、九霄雲外三劇性別政治之建構。以「陰無」之隱匿( hiddenness)襯托「陽有」之顯明(manifestation),陰陽有無實可視為一體之兩面。基於陰陽有無之互補特質,老子之理論實為一解構二元對立之利器。此二元對立普遍存在於以制式霸權為主之父權政治及母權政治之範疇中。在解構此二元對立之後,老子之理論進而提出一套立足於共融(mutuality)而非壓迫(oppression)之相處模式。此共融即老子太極圖所象徵之陰陽有無的互補調和,亦於九霄雲外最後一幕中過去及現在兩個貝蒂之互擁下得到最佳的詮釋。
本文共分三個部分,包括緒論、主體以及結論。隨著老子理論之運作,邱琪兒文本之性別政治在陰陽有無之間不停的來回證振盪(fluctuation),並且更以不同的方式呈現。依呈現方式之不同,主體可分為三章。第一章著重於性別政治在白金漢之光劇中父權政治之呈現;第二章著重於性別政治在頂尖女孩劇中母權政治之呈現;第三章著重於性別政治在九霄雲外劇中共融調和之呈現。

ABSTRACT
This thesis is an attempt to map Churchill’s sexual politics in Light Shining in Buckinghamshire, Top Girls, and Cloud Nine in terms of the dynamics between Lao Tzu’s “wu/yu” and “yin/yang.” The two pairs are characterized as the two sides of the same coin according to their hiddenness and manifestation. Due to the complementary characteristics of “wu/yu” and “yin/yang,” Lao Tzu’s theory will serve as a powerful weapon to deconstruct the polarization found in either the patriarchal hierarchy or the matriarchal one based on the dichotomy reinforced by the institutionalized hegemony. It further suggests a better relationship based on mutuality rather than oppression, symbolized in a complementary blending between “wu/yu” and “yin/yang” in Lao Tzu’s “T’ai-chi” and best illustrated in the embrace of the two Betty in the end of Cloud Nine.
Consisting of five parts, this thesis includes three chapters preceded by an introduction and followed by a conclusion. With the application of Lao Tzu’s “wu/yu” and “yin/yang” theory, the sexual politics undergoes a ceaseless fluctuation between “wu/yu” and “yin/yang” and is presented in different ways in Churchill’s plays. Chapter One focuses on the patriarchal hierarchy in Light Shining in Buckinghamshire; Chapter Two, on the matriarchal hierarchy in Top Girls. Finally; Chapter Three, on a new world based on mutuality in Cloud Nine.

TABLE OF CONTENTS
Acknowledgemets…………………………………………………i
Abstract…………………………………………………………ii
Introduction………………………………………………………1
Chapter I
Light Shining in Buckinghamshire: A Ceaseless Fluctuation between “Wu/Yu” and “Yin/Yang” within the Patriarchal Hierarchy…………………………12
Chapter II
Top Girls: A Ceaseless Fluctuation between “Wu/Yu” and “Yin/Yang”within the Matriarchal
Hierarchy……………………………………………………46
Chapter III
Cloud Nine: A Complementary Blending between “Wu/Yu” and “Yin/Yang”winthin Lao Tzu’s “T’aiChi”…………………………………………………82
Conclusion…………………………………………………121
Works Cited…………………………………………………………131
Works Consulted………………………………………………………134

WORKS CITED
Aston, Elaine. An Introduction to Feminism and Theatre. London: Routledge,1995.
de Beauvoir, Simone. The Second Sex. New York: Bantam, 1961.
Brown, Janet. “Caryl Churchill’s Top Girls Catches the Next Wave.” Caryl Churchill: A Casebook. ed. Phyllis R. Randall. New York: Garland, 1988. 117-30.
Case, Sue-Ellen. Feminism and Theatre. New York: Routledge, 1988.
Chang, Yih-Fan. Caryl Churchill: the Playwrights, Her works and Its Context.
London: King’s college UP, 1995.
Churchill, Caryl. Plays: One. London: Methuen, 1985.
---. Plays: Two. London: Methuen, 1990.
Cohn, Ruby. “Reading and Teaching Maria Irene Fornes and Caryl Churchill.“
Anglo-American Interplay in Recent Drama. New York: Cambridge UP,1995.
94-116.
Despenich, Susan Carol. Tracing the Development of a Dramatist: a Reading of
Caryl Churchill’s stage plays. Ann Arbor: Michigan UP, 1990.
Diamond, Elin. “(In)Visible Bodies in Churchill‘s Theatre.” Making a
Spectacle: Feminist Essays on Contemporary Women’s Theatre.
ed. Lynda Hart. Ann Arbor: Michigan Press, 1987. 259-81.
---. “Refusing the Romanticism of Identity: Narrative Interventions in Churchill,
Benmussa, Duras.” Theater Journal 37 (1985): 27-86.
Gray, Frances. “Mirrors of Utopia: Caryl Churchill and Joint Stock.”
British and Irish drama since 1960. ed. James Acheson. New York:
St. Martin’s Press, 1993. 47-59.
Hanna, Gillian. “Waiting for Spring to Come Again: Feminist Theatre, 1978 and
1989.“ New Theatre Quarterly 21 (1990): 43-56.
Herrman, Anne. “Travesty and Transgression: Transvestism in Shakespeare, Brecht,
and Churchill.“ Theatre Journal 41 (1989): 133-54.
Keyssar, Helene. Feminist Theatre. New York: St. Martin‘s Press, 1984.
---. “The Dramas of Caryl Churchill: The Politics of Possibility.“ FeministTheatre.
New York: St. Martin‘s Press, 1984. 77-101.
Marohl, Joseph. “De-realised Women: Performance and Identity in Top Girls.“
Modern Drama 30 (September 1987): 376-88.
Merrill, Lisa. “Monsters and Heroines: Caryl Churchill’s Women.”
Caryl Churchill: A Casebook. ed. Phyllis R. Randall. New York: Garland,
1988. 71-89.
Peacock, D. Keith. Radical Stages: Alternative History in Modern British Drama.
New York: Green Wood Press, 1991.
Rabey, David Ian. “ Past Imperfects and Present Indicatives.”
British and Irish Political Drama in Twentieth Century. Hampshire:
Macmillan Press, 1986.
Randall, Phyllis R., Ed. Caryl Churchill: A Casebook. New York: Garland, 1988.
Reinelt, Janelle. After Brecht: British Epic Theater. Ann Arbor: Michigan UP,
1994.
---. “Beyond Brecht: Britain‘s New Feminist Drama.” Theatre Journal 38 (1986):
154-63.
Ritchie, Rob. The Joint Stock Book. London: Methuen, 1987.
Silverstein, Marc. “Make us the Women We Can‘t Be: Cloud Nine and the Female
Imaginary.“ Journal of Dramatic Theory and Criticism 9.1 (1994): 7-22.
Swanson, Michael. “Mother/Daughter Relationships in Three Plays by Caryl
Churchill” Theatre Studies(1985-6): 49-67.
Thomsen, Christian W. “Three Socialist Playwrights: John McGrath, Caryl
Churchill, and Trevor Griffiths.“ Contemporary English Drama.
ed. C. W. E.Bigsby. London: Edward Arnold, 1981. 157-75.
Wong, Joseph H “Taoist Metaphysical Vision And Christian Concept of God.”
Unpublished essay, undated. Read in 1996.
---. “Some Affinities between Taoism And Christianity: toward A Dialogue.”
Unpublished essay, undated. Read in 1996.
Wong, Joseph H, trans. “Selected Translations from Lao-Tzu (Tao-Te-Ching).”
Unpublished essay, undated. Read in 1996.
Worthen, W. B. “Political Theater: Staging the Spectator.”
Modern Drama and The Rhetoric of Theater. Berkley: California UP,1992.
131-93.
Works Consulted
Barranger, Milly. “Softcops Reviews.” Theatre Journal 36.3 (October 1984);
417-419.
Betsko, Kathleen, and Rachel Koenig. “Caryl Churchill.”
Interviews with Contemporary Women Playwrights. New York: Beech Tree
Books, 1987. 75-84.
Betsko, Kathleen, and Rachel Koenig. Interviews with ContemporaryWomen
Playwrights. New York: Beech Tree Books, 1987.
Bigsby, C. W. E.. “The Politics of Anxiety: Contemporary Socialist Theatre in
England.“ Modern Drama 24 (1981): 393-403.
Blofeld, John. Taoism: the Road to Immortality. Boston: Shambhala, 1978.
Bock, Hedwig, &Albert Wertheim, Eds. Essays on ContemporaryBritish Drama.
Munich: Hueber, 1981.
Brater, Enoch, ed. Feminine Focus: The New Women Playwrights. New York:
Oxford UP, 1989.
Carlson, Susan. Women and Comedy: Rewriting the British Theatrical Tradition.
Ann Arbor: Michigan UP, 1991.
Chan, Wing-tsit, trans. The Way of Lao Tzu. With introductory essays, comments,
and notes. New York: Macmillan, 1963.
Ching, Julia. Chinese Religions. Maryknoll, New York: Orbis, 1993, 85-118.
Cody, Gabrielle. “Ice Cream: Caryl Churchill‘s Invisible Meltdown.”
Theatre Three 9 (1990): 58-67.
Cohen, Robert. “Spoken Dialogue in Written Drama.” Essays in Theatre 4 (1986):
85-97
Cohn, Ruby. Anglo-American Interplay in Recent Drama. New York: Cambridge
UP, 1995.
Cohn, Ruby, ed al. Contemporary Dramatist. London: St. James Press, 1993.
Cousin, Geraldine. Churchill, the Playwright. London: Methuen, 1989.
---. Women in Dramatic Place and Time: Contemporary Female Characters on
Stage. London: Routledge, 1996.
---. “The Common Imagination and the Individual Voice.“ New Theatre Quarterly
4.13 {Feb. 1988): 3-16.
---. “Refusing the Romanticism of Identity: Narrative Interventions in Churchill,
Benmussa, Duras.“ Theatre Journal 37 (1985): 273-86.
Craig, Sandy, ed. Dreams and Deconstructions: Alternative Theatre in Britain.
Ambergate: Amber Lane, 1981.
Dunn, Tony. “Joint Stock--The First Ten Years.” Plays and Players 376 (January
1985): 15-18.
Dymkowski, Christine. “Questioning Comedy in Daniels, Wertenbaker, and
Churchill.“ New Forms of Comedy. Ed. Bernhard Reitz. Trier:
Wissenschaftlicher Verlag, 1994. 33-44.
Fitzsimmons, Linda. File on Churchill. London: Methuen, 1989.
Fung, Yu-lan. A History of Chinese Philosophy, vol. I, Princeton: Princeton UP,
2nd ed, 1952, 170-91; 221-45.
Kolin, livia, ed. Taoist Meditation and Longevity Techniques. Ann arbor:
University of Michigan, Center for Chinese Studies Publications, 1989.
Kritzer, Amelia Howe. “Madness and Political Change in the Plays of Caryl
Churchill.“ Madness in Drama. Cambridge: Cambridge UP, 1993. 203-16.
---. The Plays of Caryl Churchill: Theatre of Empowerment. Basingstoke:
Macmillan, 1991.
Lau, D.C., trans. Lao Tzu: Tao Te Ching. Baltimore: Penguin Books, 1963.
Muller, Klaus P. “A Serious City Comedy: Fe-/male History and Value Judgements
in Caryl Churchill‘s Serious Money.“ Modern Drama 33 (1990): 347-62.
Quigley, Austin E. “Stereotype and Prototype: Character in the Plays of Caryl
Churchill.“ Feminine Focus: The New Women Play wrights. ed. Enoch
Brater. New York: Oxford UP, 1989.
25-52.
Rabey, David Ian. British and Irish Political Drama in Twentieth Century.
Hampshire: Macmillan Press, 1986.
Rabillard, Sheila. “Fen and the Production of A Feminist Ecotheater.”
Theater(Yale) 25.1 (1994): 62-71.
Reinelt, Janelle. “Caryl Churchill: Socialist Feminism and Brechtian
Dramaturgy.“ After Brecht: British Epic Theater. Ann Arbor: Michigan UP,
1994. 81-107.
Reitz, Bernhard, ed. New Forms of Comedy. Trier: Wissenschaftlicher Verlag,
1994
Solomon, Alisa. “Witches, Ranters and the Middle Class: the Plays of Caryl
Churchill.“ Theatre (Yale)12ii (1981): 49-55.
Soto-Morettini, Donna. “Revolution and the Fatally Clever Smile: Caryl Churchill‘s
Mad Forest.“ Journal of Dramatic Theory and Critism 9.1 (1994): 105-18.
Stone, Laurie. “Caryl Churchill Makes Room at the Top.”
The Village Voice 28 (March 1, 1983): 1, 80-81.
Tony. “Caryl Churchill‘s Mad Forest: A Polyphonic Study of Southeastern
Europe.“ Modern Drama 36.4 (1993): 499-511.
Wong, Joseph H. “Stillness-Contemplation: Lao Tzu, Evagrius, Eckhart.”
Unpublished essay, undated. Read in 1996.
Worth, Katharine. “Images of Women in Modern English Theater.”
Feminine Focus: The New Women Playwrights. ed. Enoch Brater.
New York: Oxford UP, 1989. 3-24.

QRCODE
 
 
 
 
 
                                                                                                                                                                                                                                                                                                                                                                                                               
第一頁 上一頁 下一頁 最後一頁 top