跳到主要內容

臺灣博碩士論文加值系統

(44.210.21.70) 您好!臺灣時間:2022/08/16 18:48
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:林香伶
研究生(外文):Lin Hsiang-ling
論文名稱:鏡像之旅:以拉康的精神分析理論探討黃哲倫劇作風格之轉變
論文名稱(外文):The Journey through the Mirror:A Lacanian Reading of David Henry Hwang's Playwriting
指導教授:廖本瑞廖本瑞引用關係
指導教授(外文):Liao Pen-shui
學位類別:碩士
校院名稱:國立高雄師範大學
系所名稱:英語學系
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:2002
畢業學年度:90
語文別:英文
論文頁數:91
中文關鍵詞:鏡像時期伊底帕斯時期移轉作用刻板印象幻想世界華美文學主體重塑
外文關鍵詞:the Mirror stagethe Oedipal stagetransitivismstereotypefantasized worldAsian American literaturethe reformation of subjectivity
相關次數:
  • 被引用被引用:0
  • 點閱點閱:437
  • 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:1
論文提要:
本論文主要探究美國華裔劇作家黃哲倫不同時期的作品中所呈現之不同的特色及議題,並以拉康的鏡像理論與黃哲倫劇作風格之轉變做一類比,說明黃哲倫透過劇本創作的過程,得以重新檢視及建構身份認同。其作品中對身份認同之定義和種族議題的處理,在不同時期呈現出迥然不同的風格。筆者企圖辯證黃哲倫在劇作中所呈現的心理轉變過程,與拉康之鏡像階段中的孩童所展現的主要特徵,確實有其不謀而合之處。
近幾十年來華裔作品大量問世,許多表現出色的華裔作家已成功地躋身美國主要作家之林,例如湯婷婷、譚恩美、趙健秀等,成功地從作品當中建構族裔認同,同時也為長久以來噤聲囁嚅的華裔民族取得發聲的機會。這股華美文學的風潮,深之影響黃哲倫,可在其早期的作品中窺見一二。事實上,這股興盛的華美文學熱潮,也為黃哲倫開啟一扇反省、檢視的窗口。誠如拉康所言,個體在建構主體性的過程中,必經鏡像階段;依此觀點分析之,則此熱潮象徵一面鏡子,經由這面鏡子的啟迪,一段重新建構主體性的鏡像之旅於焉展開。而從黃哲倫一系列的作品當中可得到例證,說明他的確符合鏡像階段中孩童所呈現的特徵。
本論文以拉康討論孩童早期建構主體性的過程為經,將黃哲倫的作品分為三階段為緯,互為區別、對比,呈現黃哲倫在劇作中的成長軌跡。本文分析每個時期之代表作品:<<剛下船的中國人>>-前鏡像階段,<<蝴蝶君>>-鏡像階段,<<尋找中國城>>及<<金孩童>>-伊底帕斯階段。除此,黃哲倫的其它作品和相關的訪談及演說也一併在討論的範疇內,希冀提供一客觀及具說服力的論述。
全文包含五章。第一章主要涵括三個部份,包括華美文學的歷史回顧及背景介紹,黃哲倫的生平及作品簡介,以及拉康的精神分析理論在本文中的應用。第二章為拉康精神分析理論的闡釋,目的在於為之後章節中所應用的理論部份提供前導知識;另外,有鑒於拉康理論之晦澀難解,許多名詞也獨立擴成篇幅,期盼能為讀者將拉康的理論描繪出更具體的輪廓。第三章與第四章為本論文論述的主要部份,黃哲倫的三個階段中的作品所呈現出的心理轉變與拉康所區分的三個階段之對照,是這兩個章節的主題。第五章為結論,肯定運用拉康的精神分析理論探究劇作家黃哲倫的心理轉變之可行性、剖析黃哲倫在劇作上表現出色的地方、探討有待進步的空間、以及重申對華美文學的遠景持樂觀的態度。

This thesis attempts to make a penetrating analysis of playwright David Henry Hwang’s psychological progress revealed in his plays in the light of Jacques Lacan’s psychoanalytic theory. Lacan’s classification of the three stages of human psychological development is employed here to help peep into David Henry Hwang’s inner world and exemplify that Hwang indeed has re-examined and reconstructed his self-identity through the playwriting. In the plays of different stages of Hwang’s playwriting career, various styles of playwriting and attitudes toward the ethnic issues are clearly sketched within his works.
Over the decades, there have been more and more literary works concerning Asian American issues thrusting into the international spotlight. For example, the works of Maxine Hong Kingston, Amy Tan, Frank Chin have been largely accepted by the Western readers and have also been regarded as the "mainstream" literary works rather than minority ones. These Asian American writers have successfully subverted the long-existing impression that the Asian American literary works as border or minor works; instead, they have the table turn back to articulate the Asian voices for the long-silenced Asian race.
With the blooming trend of articulating Asian voices, David Henry Hwang has been greatly influenced. In his early plays there are a lot of characteristics which well illustrate his indebtedness to these predecessors. Henceforth, my hypothesis is that this trend of articulating Asian American voices in the western academic society provides Hwang a medium for reexamination and retrospection over his self-identity. As Lacan suggests, the child has to go through the mirror stage in order to construct his or her subjectivity. Seen from this light, this stream of Asian American literature symbolizes a mirror for Hwang which enables him to set out on the journey of reconstructing the subjectivity. The evidence that proves Hwang has indeed gone through the journey of the mirror stage can be readily found in his serial plays.
The main structure of the thesis lies in the analogy between Lacan’s formulation of the three stages of the child’s development of growth and David Henry Hwang’s three stages that I have categorized. In comparison with Lacan’s formulation of the pre-mirror stage, the mirror stage, the Oedipal stage, Hwang’s three stages of mental development can be traced and well-reasoned. The main texts that support the analysis are as follows: FOB (1979)─the pre-mirror stage, M. Butterfly(1988)─the mirror stage, and Trying to Find Chinatown(1996), Golden Child(1997)─the Oedipal stage. Many other works of Hwang’s, interviews as well as addresses made by Hwang will also be brought up for discussion with the regard to offering a critical and persuasive analysis.
The thesis consists of five chapters. Chapter One is the introduction of the whole thesis, including three parts: the introduction to the early history of Asian American literature, a brief introduction to David Henry Hwang’s works and biographical background, and the illustration of the appliance of Lacanian theory in the thesis. Chapter Two is the chapter for Lacanian theory. For the purpose of providing the reader with the preliminary knowledge of the theory which in the latter chapters will be encountered, the mirror stage and the Oedipal stage are painstakingly penetrated and demonstrated. Many theoretical terms are singled out to make an even more detailed illustration only with the hope to help the reader peep into Lacan’s profound theories. Chapter Three and Chapter Four are the body of the thesis. The main scheme of the two chapters rests upon the exploration of David Henry Hwang’s psychological development revealed through his works in the light of Lacanian theory of the mirror stage and the Oedipal stage. Chapter Five, the concluding part of the thesis, includes three sections: the affirmation of the employment of Lacanian psychoanalytic theory to read David Henry Hwang’s psychological development, the discussion of Hwang’s brilliant intelligence as a playwright as well as the limitation and the space for him to improve, and the settlement of the optimistic prospect of the Asian American literature.
Table of Contents
Acknowledgments
Abstract
List of Figures
Chapter One
Introduction ………………………………………………………..1
Chapter Two
The Lacanian Theory:
The Mirror Stage and the Oedipal Stage …………………….16
Chapter Three
The Journey through the Mirror ………………………………30
Chapter Four
From Fantasy to Reality …………………………………………50
Chapter Five
Conclusion ………………………………………………………….78
Works Cited ………………………………………………………………84

Works Cited
I. Primary Sources:
Hwang, David Henry. FOB and The House of Sleeping Beauties.
New York: Dramatists, 1983.
---. The Dance and The Railroad and Family Devotions. New
York: Dramatists. 1983.
---. The Sound of a Voice. New York: Dramatists, 1984.
---. M. Butterfly. New York: Penguin, 1989.
---. Trying to Find Chinatown: The Selected Plays of David
Henry Hwang. New York: Theatre Communications Group,
2000.
---. Golden Child. New York: Dramatists, 1999.
II. Secondary Sources:
Bennett, Juda. The Passing Figure: Racial Castration in Modern
American Literature. New York: Peter Lang, 1996.
Berson, Misha. “The Demon in David Henry Hwang.” American
Theatre 15.4(1998): 14-18, 50-52.
Bhabha, Homi K. “The Other Question: Stereotype,
Discrimination andthe Discourse of Colonialism. ” The
Location of Culture. New York: Routledge, 1994. 66-84.
Boothy, Richard. Death and Desire: Psychoanalytic Theory in
Lacan’s Return to Freud. New York: Routledge, 1991.
Bowie, Malcolm. “Symbolic, Imaginary, Real . . . and
LoTrue. ” Lacan.ndon: Fontana Press,1991. 88-121.
Cheung, King-Kok ed and intro. “Re-viewing Asian American
SLiterary tudies. ” An Interethnic Companion to Asian
American Literature. New York: Cambridge UP, 1997. 1-36.
Chin, Frank, et al., eds and intros. “Introduction.”
Aiiieeee! An Anthology of Asian American Writers. New
York: Mentor, 1983. xi-xxii.
--- et al eds and intros. “Introduction. ” The Big
Aiiieeeee! An Anthology of Chinese American and Japanese
AmericanLiterature. New York: Penguin, 1991. xi-xvi.
--- “Come All Ye Asian American Writers of the Real and the
Fake. ”The Big Aiiieeeee! An Anthology of Chinese
American and Japanese American Literature. Ed. Jeffery
Paul Chan et al. New York:Penguin, 1991. 1-92.
Cooperman, Robert. “Across the Boundaries of Cultural
Identity: An Interview with David Henry Hwang.” Staging
Difference: Cultural Pluralism in American Theatre and
Drama. Ed. Marc Maufort. New York: Peter Lang, 1996.
365-73.
---. “New Theatrical Statements: Asian-Western Mergers in the
EarlyPlays of David Henry Hwang.” Staging Difference:
CulturalPluralism in American Theatre and Drama. Ed.
Marc Maufort. New York: Peter Lang, 1996. 201-13.
DiGaetani, John Louis. “M. Butterfly: An Interview with David
Henry Hwang.” TDR 33 (Fall 1989): 141-53.
Ellmann, Maud, ed and intro. Psychoanalytic Literary
Criticism. London: Duke UP, 2001.
Eng, David L. Racial Castratioondon: Longman, 1994. 15-35.
Felman, Shoshana. Jacques Lacan and the Adventure of Insight:
Psychoanalysis in Contemporary Culture. Cambridge:
Harvard UP, 1987.
Fink, Bruce. The Lacanian Subject: Between Language and
Jouissance. New Jersey: Princeton UP, 1995.
---. A Clinical Introduction to Lacanian Psychoanalysis:
Theory and Technique. Cambridge: Harvard UP, 1997.
Freud, Sigmund. The Freud Reader. Ed. Peter Gay. New York:
W. W. Norton & Company, 1989.
Gallop, Jane. Reading Lacan. Ithaca: Cornell UP, 1985.
Goellnicht, Donald C. “Blurring Boundaries: Asian American
Literature as Theory.” An Interethnic Companion to Asian
American Literature. Ed. King-Kok Cheung. New York:
Cambridge, 1997. 338-65.
Grosz, Elizabeth. Jacques Lacan: A Feminist Introduction.
London:Routledge, 1990.
Harper, Philip Brian. Framing the Margins: The Social Logic of
Postmodern Culture. New York, Oxford: Oxford UP,1994.
Herman, Jan. “Having Learned from His Failures — Before and
After ‘M. Butterfly’.” Newsday 17 Nov. 1996. Online.
Alltheweb Gopher. Internet. 25 Sep. 2001.
Hornby, Richard. “California Theatre: Four New Plays and a
Revival.” Hudson Review, 50.2 (1997): 298-304.
Jiji, Vera. “The Plays of David Hwang: The Gaze of the
Medusa.” Staging the Rage: The Web of Misogyny in Modern
Drama. Eds. Katherine H. Burkman and Judith Roof.
Madison: Fairleigh Dickinson UP, 1998. 218-29.
Julien, Philippe. Jacques Lacan’s Return to Freud: the Real,
the Symbolic, and the Imaginary. Trans. Devra Beck
Simiu. New York: New York UP, 1994.
Kehde, Suzanne. “Engendering the Imperial Subject: The
(De)Construction of (Western) Masculinity in David Henry
Hwang’s M. Butterfly and Graham Greene’s The Quiet American.”
Fictions of Masculinity: Crossing Cultures, Crossing
Sexualities. Ed. Peter F. Murphy. New York: New York UP,
1994. 241-54.
Kerr, Douglas. “David Henry Hwang and the Revenge of Madame
Butterfly.” Asian Voices in English. Eds. Mimi Chan
and Roy Harris. Hong Kong: Hong Kong UP, 1991. 119-130
Kim, Elaine H. “Asian American Literature and the Importance
of Social Context. ” ADE Bulletin(Spring 1985): 34-41.
Online.World Wide Web.
http://www.adfl.org/ade/bulletin/N080/ (9 Dec.
2001).
---. “Foreword. ” Reading the Literatures of Asian
America. Ed. Shirley Greok-lin Lim and Amy Ling.
Philadelphia: Temple UP, 1992. xi-xvii.
---. “Visions and Fierce Dreams: A Commentary on the Works of
Maxine Hong Kingston. ” Amerasia Journal 8.2
(Fall/Winter 1981): 154-59.
King-Kok Cheung. “ ‘Don’t tell’: Imposed Silences in The
Color Purple and The Woman Warrior. ” PMLA 103.2 (March
1988):171-72.
---. “Reviewing Asian American Literary Studies. ” An
Interethnic Companion to Asian American Literature. Ed.
King-Kok Cheung. New York: Cambridge, 1997. 1-36.
Kline, Paul. Fact and Fantasy in Freudian Theory. 2nd
edition. London and New York: Methuen, c1972, 1981.
Lacan, Jacques. Ecrits: A Selection. Trans. Alan Sheridan.
NewYork: Norton, 1977.
Lee, Josephine. Performing Asian America. Philadelphia:
Temple UP, 1997.
Lemaire, Anika. Jacques Lacan. London: Routledge, 1994.
Lévi-Strauss, Claude. Structural Anthropology. Trans. Claire
Jacobson and Brooke Grundfest Schoepf. New York : Penguin
Books, c1963, 1976.
Ling, Amy. “Chinese American Women Writers: The Tradition
behind Maxine Hong Kingston.” Redefining American
Literary History.Eds. LaVonne Brown Ruoff and Jerry W.
Ward, Jr. New York: Modern Language Association of
America, 1990. 235-36.
Lowe, Lisa. “Canon, Institution, Identity: Contradictions for
Asian American Studies. ” The Ethnic Canon: Histories,
Institutions and Interventions. Ed. David Palumbo-liao.
Minneapolis: Minneapolis UP, 1995. 48-68.
Lyons, Bonnie. “‘Making His Muscles Work For Himself’: An
Interview with David Henry Hwang.” Literary Review 42.2
(1999): 230-44.
Ma, Sheng-mei. Immigrant Subjectivities in Asian American and
AsianDiaspora Literature. New York: New York UP, 1998.
MacCannell, Juliet Flower. Figuring Lacan: Criticism and the
CulturalUnconscious. London : Croom Helm, 1986.
Marini, Marcelle. Jacques Lacan: The French Context. Trans.
Anne Tomiche. New Brunswick: Rutgers UP, 1992.
Mason, Susan Vaneta and Linda Sarver. “Between Worlds: The
Sound of Voice and Pay the Chinaman. ” Theatre Journal
147.1 (Mar. 1995): 145-47.
Mellard, James M. Using Lacan, Reading Fiction. Urbana and
Chicago: Illinois UP, 1991.
Mitchell, Stephen A. Rational Concepts in Psychoanalysis.
Cambridge and Massachusetts: Harvard UP, 1988.
Moss-Coane, Marty and John Timpane, intro. and ed. “David
Henry Hwang.” Speaking on Stage: Interviews with
Contemporary American Playwrights. Eds. Kolin Philip C. &
Colby H. Kullman. Tuscaloosa: Alabama Up, 1996. 277-90.
Moy, James S. “The Death of Asia on the American Field of
Representation. ” Reading the Literature of Asian
America. Eds. Shirley Greok-lin Lim and Amy Ling.
Philadelphia: Temple UP, 1992. 349-358.
---. “ Asian American Visibility: Touring Fierce Racial
Geographies.”Staging Difference: Cultural Pluralism in
American Theatre and Drama. Ed. Marc Maufort. New York:
Peter Lang, 1996. 191-200.
Muller, John P and William J. Richardson. Lacan and Language:
A Reader’s Guide to Ecrits. New York: International UP,
1994.
Rabkin, Gerald. “The Sound of a Voice.” Contemporary
American Theatre. Ed. Bruce King. New York: Macmillan,
1991. 97-114.
Ragland-Sullivan, Ellie. Jacques Lacan and the Philosophy of
Psychoanalysis. London: Croom Helm, 1986.
Remen, Kathryn. “The Theatre of Punishment: David Henry
Hwang’s M. Butterfly and Michel Foucault’s Discipline
and Punish.” Modern Drama 37.3 (Fall 1994): 391-400.
Roustang, Francois. The Lacanian Delusion. Trans. Greg
Sims. Oxford, New York: Oxford UP, 1990.
Sarup, Mandan. Jacques Lacan. New York: Harvester Wheatsheaf,
1992.
Savran, David. “Daivd Henry Hwang.” In Their Own Words.
Ed. David Savran. New York: Theatre Communications Group,
1988.117-31.
Shimakawa, Karen. “‘Who’s to Say?’ Or, Making Space for
Gender and Ethnicity in M. Butterfly.” Theatre Journal 45
(1993): 349-62.
Skloot, Robert. “Breaking the Butterfly: The Politics of
David Henry Hwang.” Modern Drama 33.1 (March 1990): 59-
66.
Smith, Joseph H. Arguing with Lacan: Ego, Psychology and
Language. New Haven and London: Yale UP, 1991.
Smith, Sidonie. “Maxine Hong Kingston’s Woman Warrior:
Filiality and Woman’s Autobiographical Storytelling. ”
Feminisms : An Anthology of Literary Theory and
Criticism. Eds. Robyn R. Warhol and Diane Price Herndl.
New Brunswick: Rutgers UP, 1996. 1058-78.
Wong, Sau-ling Cynthia. “Encounters with the Racial Shadow.”
Reading Asian American Literature: From Necessity to
Extravagance. Princeton and New Jersey: Princeton UP,
1993. 77-117.

QRCODE
 
 
 
 
 
                                                                                                                                                                                                                                                                                                                                                                                                               
第一頁 上一頁 下一頁 最後一頁 top