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研究生:巫岱庭
研究生(外文):Mandy Dai-Ting Wu
論文名稱:西爾維亞.柏拉絲的女性自我展現:真理與認同感的論述
論文名稱(外文):Sylvia Plath's Feminist Self-Representation: Discourses on Truth and Identity
指導教授:海柏海柏引用關係
指導教授(外文):Dr.Patricia Haseltine
學位類別:碩士
校院名稱:靜宜大學
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
中文關鍵詞:西爾維亞.柏拉絲女性自我展現
外文關鍵詞:Sylvia PlathFeminist Self-Representation
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論文名稱:西爾維亞.柏拉絲的女性自我展現: 頁數:102
真理與認同感的論述
校(院)所組別:靜宜大學
英國語文學系碩士班:文學組
畢業時間及提要別: 八十七學年度第二學期碩士論文提要
研究生:巫岱庭 指導教授:海柏 博士
論文提要:
本論文係以基爾莫爾(Leigh Gilmore)的「自我展現」(self-representation)理論來探討西爾維亞.柏拉絲(Sylvia Plath)的詩作。在她的詩作中,她以大膽的隱喻和誇張的手法,及扭曲的意象來涵蓋生活的經驗和由生活經驗延展出來的要素。我連結了此兩種要素去檢視柏拉絲的詩即為基爾莫爾的自我展現。此外,我將柏拉絲視為一位女性主義者,在她自我展現的運用中,她追求真理與自我認同感(truth and identity)。
第一章節中,我介紹了基爾莫爾的自我展現理論。根據她的理論,女性的自我展現逐漸變成迴異於傳統式自傳的文類。它不再只呈現真實的事物,而且也包含了由生活經驗延展出來的特質,包括她與他人的關係以扭曲和誇大的手法、角色的多樣性來呈現。然而,女性的自我展現手法衍生出了一個問題─真理的傳述或是謊言。根據歐爾尼(James Olney)和德曼(Paul de Man) 對於隱喻的辯証,歐爾尼認為作品中隱喻的手法乃是作者生活當中一種美學的治療,我採用了他的觀點來定義柏拉絲的詩作為真理的傳述。此外,根據巴特蕾(Judith Butler)、西克束絲(Helene Cixous)和伊瑞格瑞(Luce Irigaray)的性別概念,我主張在柏拉絲的自我展現中,存在著社會規範和性心理經驗的性別認同感問題。在首章的末尾,我提供了羅森布萊特(Luise Rosenblatt)的<訊息解讀與美學詮釋>("Efferent and Aesthetic Reading")一文作為幫助解讀柏拉絲如何融合了生活經驗與意象在她的自我展現詩作中。
第二章,我說明了女性的自我展現特質呈現在柏拉斯與家人的關係上,包括她的父母親、先生和小孩。她將她和家人的生活經驗轉化為詩作,此舉確實幫助了柏拉絲自己找尋到她女性的聲音,並確認了她的女性主觀性和自我認同感。此展現也提供了她不同的身份:女性、女兒、妻子和母親的角色。在柏拉絲刻劃其家庭的過程中,她似乎更為接近和了解她的多重角色,並在此過程中,她意識到身為一位女性是不斷地在改變。
第三章和第四章,我探討柏拉絲如何以社會經驗和女性性別的觀點來述說女性的身體和她自己。從社會經驗和女性性別的觀點來看,這呈現了兩種特質─被動的女性角色與蛻變轉化後的女性角色。第三章中探討了柏拉絲詩作中,被動性的角色抗衡規範的社會,而她蛻變轉化後的角色,呈現了一種新的自我,來抗衡規範的社會。第四章,我說明了柏拉絲從稚澀的作家到成為一名專業作家的發展與改變。另外,我亦說明了柏拉絲暗喻了寫作猶如重複而無創意的鏡像(mechanical mirror)一般,另一方面,她亦藉由能映射真理及帶詩意的鏡像(poetical mirror)來說明寫作雖具有美學的技巧卻不失其真。第五章,我以柏拉絲在她的自我展現技巧運用中,她成為一位追求真理與自我認同感的女性主義者作為結論。

Thesis title: Sylvia Plath's Feminist Self-Representation: Discourses on Truth and Identity
Graduate School of Western Languages and Literature
Providence University 87th School Year
An Abstract of a Thesis for the Degree of Master of Arts
Graduate: Mandy Dai-TingWu
Advisor: Dr. Patricia Haseltine
Abstract
In this thesis, I mainly use Leigh Gilmore's theory of self-representation to approach Sylvia Plath's poetry, which contains both autobiographical experience and qualities beyond lived experience with bold metaphors and exaggerated, distorted imagery. I bridge the two elements to examine Plath's poetry as self-representation. Furthermore, I take Plath as a feminist who searches for her truth and identity in the practice of self-representation.
In Chapter One, I introduce Gilmore's theory of self-representation. According to her, women's self-representation gradually becomes a genre that is different from the traditional autobiography. It no longer only reflects what the reality is but contains the qualities extending lived experience including her relationship with others into distortion, exaggeration, and multiplicity of personas. However, there is a problem engendered by women's self-representation--the problem of truth telling or lying. According to the debate on metaphor between James Olney and Paul de Man, I take James Olney's viewpoint of seeing metaphor as an aesthetic therapist to the self to define Plath's poetry as a truth-telling. In addition, building on Butler's as well as Helene Cixous and Luce Irigaray's concept of gender, I agree that there is a gender identity in terms of socially normative construction and psychosexual experience in Plath's self-representation. In the end of Chapter One, I provide Louise Rosenblatt's "Efferent and Aesthetic Reading" as the approach that helps explain how Plath's life experience and her employment of imagery are fused in the practice of self-representation.
In Chapter Two, I account for the discussion of women's self-representation in Sylvia Plath's relationship with her family, including her father, mother, husband and children. Her representations of family transformed from lived experience into poetical world indeed help Plath find her female voice and define her female subjectivity and identity. Her representations of family serve as a means through which she defines herself as a woman, a daughter, a wife, and a mother. Throughout the process of family portraits, Plath seems to come closer to finding and realizing her multiple roles, from which her senses as a woman are continuously changed.
In Chapters Three and Four, I discuss how Plath writes the female body and herself in terms of both social experience and female sexuality. This reveals two characteristics-passivity and transformation in social experience and in female sexuality. In Chapter Three, how Plath's passive personas in her poems oppose the normative constructions while her transformed personas rise towards new forms of self that disrupt those normative constructions is treated. In Chapter Four, I attempt to account for the development of her moving from her role as apprentice to professional and the transformation from the mechanical mirror to the poetical mirror that reflects the truth. In Chapter Five, I conclude Plath as a feminist who searches for her truth and identity in the practice of self-representation.

CONTENTS
CHINESE ABSTRACT…………………………………………………...........i
ENGLISH ABSTRACT……………………………………………….............iii
ACKNOWLEDGES……………………………………………………............v
ABBREVIATIONS……………………………………………………............vi
CHAPTER ONE: INTRODUCTION 1
Self-Representation / Autobiographics as a Genre by
women 4
A Debate on metaphor: Paul de Man and James Olney 10
Gender Identity Emerging from Normative constructions 16
CHAPTER TWO: REPRESENTATIONS OF FAMILY 24
Portrait of mother 29 Portrait of Father 36 36
Portrait of Marriage 44
Portrait of Children 48
CHAPTER THREE: SELF-REPRESENTATION OF FEMALE BODY 54
The Passive and Docile Female Body 59
The Transformed and Active Female Body 69
CHAPTER FOUR: SELF-REPRESENTATION OF WRITING 75
Anxiety of Authorship 76
The Physical and Poetical Vision from the Mirror 83
The Mirror Reflecting the Truth 88
CHAPTER FIVE: CONCLUSION 93
WORKS CITED 98

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