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研究生:蘇柏帆
研究生(外文):Bo-fun Su
論文名稱:能言之沈默:珍‧康萍<鋼琴師與她的情人>之心理分析觀點
論文名稱(外文):Articulate Silence:Psychoanalytical Perspectives in Jane Campion's The Piano
指導教授:張逸帆張逸帆引用關係
指導教授(外文):Yih-fan Chang
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:116
中文關鍵詞:心理分析珍.康萍心理分析之電影理論鋼琴師與她的情人
外文關鍵詞:Jane Campionfemale subjectivityImaginarypsychoanalytical film theoriesfilmic gazepsychoanalysis
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本論文旨在以拉岡 (Jacques Lacan) 與心理分析之電影理論來探討珍.康萍 (Jane Campion) 在<鋼琴師與她的情人> (The Piano) 這部作品中,女性主體之呈現。透過這部作品,珍.康萍在揭露男性之支配與暴力之餘,藉由艾達這樣一位沈默者來顛覆女性是弱者的刻板印象。在艾達這樣一位女子身上,珍.康萍將此一沈默角色塑造成一位在自己想像世界中強烈依戀、及在象徵世界具有強大意志力的女性。在艾達這麼一位尋求女性主體的女子身上,沈默者一角似比用語言發聲者更能明確的表達自己。
  在第一章導論中,簡述珍.康萍作品之背景及其作品中女性角色之特徵來討論其電影手法。並介紹 <鋼琴師與她的情人>的背景故事與珍.康萍在此片中所運用的文學及電影技巧。再者,此章並述及在本論文中對此作品論點的簡短介紹。
  在以下的章節中,著重用拉岡心理分析及心理分析之電影理論來探討艾達的女性主體。每章均以心理心析理論為重心來閱讀此電影。在第二章中,我將借重拉岡之鏡像階段 (The Mirror Stage) 當做討論艾達不全之女性主體為理論背景。第三章將介紹同樣源自於心理分析凝視的電影理論(男性)凝視觀點。第四章則顛覆第二章所揭露此電影的男性支配特質與第三章所檢視的電影中的男性凝視。對艾達此一角色所定義的能言之沈默者,與此片中經由電影之凝視所表現具支配性質的女性主體,在第四章中均可見其詳。
  第五章總結此論文,簡述之前章節所提及的論點以及我個人閱讀<鋼琴師與她的情人>的貢獻。

This thesis discusses the representation of female subjectivity in Jane Campion’s The Piano in terms of Lacanian and film-oriented psychoanalytical theories. In this work, Campion reveals the male dominance and violence, but reverses the image of women as victims by means of a selective mute Ada. In Ada, Campion fashions a mute woman’s strong obsession with the Imaginary, and her strong will to seak her desired father in the Symbolic. Ada, the mute in search of her female subjectivity, is more articulate than verbal speakers.
In the introductory chapter, I offer a background of Jane Campion concerning her films and the features of female characters in her works so as to survey her intention in filming. I also introduce the background of The Piano, and Campion’s use of literary as well as filmic elements in this film. Also in this part, I offer a brief introduction to my discussion of this film.
In the following chapters, I pay attention to Ada’s female subjectivity in terms of Lacanian psychoanalysis and psychoanalytical film theories. Each chapter hinges on the psychoanalytical reading of the film. I illustrate Lacan’s mirror stage as my theoretical background on Ada’s incomplete female subjectivity in Chapter Two. Stemming from psychoanalytical gaze, filmic theories on (male) gaze is introduced in Chapter Three. Following the discussion in previous chapters, Chapter Four discusses both the subversion of male dominance treated in Chapter Two and the filmic male gaze examined in Chapter Three. Chapter Four also proves my argument of Campion’s articulate silence in Ada, and subversive filmic gaze presenting a dominant female subjectivity in the film.
Chapter Five concludes my thesis, summarizing main points in the previous chapters, and the contribution that my reading of The Piano makes.

Table of Contents
Abstract………………………………………………………………i
Acknowledgements……………………………………………………iii
Chapter One
Introduction…………………………………………………………1
Chapter Two
Fragmented Female Subjectivity: Lacanian Perspectives……9
Chapter Three
Filmic Gaze in The Piano…………………………………………38
Chapter Four
Articulate Silence: The Subversive Gaze and Female Subjectivity in The Piano…………………………………………………………59
Chapter Five
Conclusion……………………………………………………………96
Works Cited…………………………………………………………112

Primary Texts:
Campion, Jane. The Piano. New York: Bloomsbury Publishing Ltd., 1993.
Campion, Jane and Kate Pullinger. The Piano. New York: Miramax Books Hyperion, 1994.
Secondary Sources:
Allen, Richard. “Psychoanalytic Film Theory.” A Companion to Film Theory. Eds. Toby Miller and Robert Stam. Massachusetts: Blackwell Publishers, 1999. 123-145.
Bruzzi, Stella. “Tempestuous Petticoats: Costume and Desire in The Piano.” Screen 36.3 (1995): 257-66.
Cartmell, Deborah and Imelda Whelehan ed. Adaptations: From Text to Screen, Screen to Text. London: Routledge, 1999.
Cheshire, Ellen. The Pocket Essential: Jane Campion. Harpenden: Pocket Essential, 2000.
Chung, Yun-pong. “The Growth of Women: The Piano.” http://www.cc.ntu.edu.tw/~cliao/b/m/62.htm 2000, 1-38.
Copjec, Joan. Read My Desire: Lacan against the Historicists. Cambridge, Mass. And Landon: MIT Press, 1994.
Doane, Mary Ann. “Film and the Masquerade: Theorizing the Female Spectator.” Femmes Fatales: Feminism, Film Theory, Psychoanalysis. New York: Routledge, 1991. 17-32.
Doane, Mary Ann. “Subjectivity and Desire: An(other) Way of Looking.” Contemporary Film Theory. Ed. and Intro. Anatony Easthope. London: Longman, 1993.
- - -. Femmes Fatales: Feminism, Film Theory, Psychoanalysis. New York: Routledge, 1991.
Dyson, Lynda. “The Return of the Repressed? Whiteness, Femininity and Colonialism in The Piano. ” Screen 36.3 (1995): 267-76.
Evans, Dylan. An Introductory Dictionary of Lacanian Psychoanalysis. London: Routledge, 1996.
Fink, Bruce. The Lacanian Subject: Between Language and Jouissance. New Jersey: Princeton UP, 1995.
Gallop, Jane. Reading Lacan. New York: Cornell UP, 1985.
- - -. The Daughter’s Seduction: Feminism and Psychoanalysis. New York: Cornell UP, 1982.
Gelder, Ken. “Jane Campion and the Limits of Literary Cinema.” Adaptations: From Text to Screen, Screen to Text. Eds. Deborah Cartmell and Imelda Whelehan. New York: Routledge, 1999. 157-71.
Gillett, Sue. “Lips and Fingers: Jane Campion’s The Piano.” Screen 36.3 (1995): 277-87.
Grosz, Elizabeth. Jacques Lacan: A Feminist Introduction. New York: Routledge, 1990.
Hardy, Ann. “The Last Patriarch.” Ed. Harriet Margolis. Jane Campion’s The Piano. New York: Cambridge UP, 2000. 59-85.
Hayward, Susan. Cinematic Studies: The Key Concepts. New York: Routledge, 2000.
Heath, Stephen and Patricia Mellencamp eds. Cinema and Language. Los Angeles: UP of America, 1983.
Irigaray, Luce. This Sex Which is not One. New York: Cornell UP, 1985.
Kaplan, E. Ann. Motherhood and Representation: the Mother in Popular Culture and Melodrama. New York: Routledge, 1992.
- - -. Women and Film: Both Sides of the Cinema. New York: Routledge, 1983.
Lacan, Jacques. Ēcrits: A Selection. Trans. Alan Sheridan. London: Tavistock, 1977.
- - -. “The Mirror Stage.” 1-7.
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- - -. The Four Fundamental Concepts of Psycho-Analysis. Trains. Alan Sheridan. Ed. Jacques-Alain Miller. New York: Norton, 1978.
Lapsley, Robert and Michael Westlake. Film Theory: an Introduction. New York: Machester UP, 1988.
Liu, Yu-hso. “Representation of Female Body: The Piano.” Eds. Chang Hao-hong. Taipei: Gender Study Reader, 215-238.
MacCannell, Juliet Flower. Figuring Lacan: Criticism and the Cultural Unconscious. London: Croom Helm Ltd, 1986.
Margolis, Harriet ed. Jane Campion’s The Piano. New York: Cambridge UP, 2000.
Mast, Gerald, Marshall Cohen, and Leo Braudy eds. Film Theory and Criticism: Introductory Readings. Oxford: Oxford UP, 1992.
Metz, Christian. The Imaginary Signifier: Psychoanalysis and the Cinema. Trans. Celia Britton, Annwyl Williams, Ben Brewster, and Alfred Guzzetti. Bloomington: India UP, 1977.
MMulvey, Laura. Visual and Other Pleasures. Bloomington: Indian UP, 1989.
Naremore, James. “Authorship.” A Companion to Film Theory. Eds. Toby Miller and Robert Stam. Massachusetts: Blackwell Publishers, 1999. 9-24.
Rose, Jacqueline. Sexuality in the Field of Vision. London: Verso, 1995.
Sarup, Madan. Modern Cultural Theories: Jacques Lacan. New York: Harvester Wheatsheaf, 1992.
Silverman, Kaja. The Subject of Semiotics. Oxford: Oxford UP, 1983.
Stam, Robert, Robert Burgoyne and Sandy Flitterman-Lewis. New Vocabularies in Film Semiotics. London: Routledge, 1992.
Stacey, Jackie. Star Gazing: Hollywood Cinema and Female Spectatorship. London: Routledge, 1994.
Stone, Alan A. Boston Review: Jane Campion’s The Piano. http://www-polisci.mit.edu/BostonReview/BR19.1/stone.html Nov. 29, 2000. 1-8.
Ward, Elizabeth. Father/Daughter Rape. London: Women’s Press, 1984.
Williams, Linda. “When the Woman Looks.” Eds. Mary Ann Doane, P. Mellencamp, and L. Williams. Re-Vision: Essays in Feminist Film Criticism. Frederic: The American Film Institute/University Publications of America, 1984.
Wright, Elizabeth and Edmond Wright eds. The Zizek Reader. Massachusetts: Blackwell Publishers, 1999.
Wexman, Virginia Wright. Jane Campion: Interviews. Mississippi: UP of Mississippi, 1999.
Yu, Su-Lin. “Journey to the Symbolic: A Psychoanalytic Reading of Jane Campion’s The Piano.” Philosophical Papers 45 (1999): 107-115
Zizek, Slavoj. Enjoy Your Symptom! New York: Routledge, 2001.
劉毓秀。<肉身中的女性再現--’鋼琴師與她的情人’> 性/別研究讀本。張小虹編,(一九九八年),頁二一五~二三八。
鍾雲鵬。<從《鋼琴師與她的情人》論「女人」之長成>http://www.cc.ntu.edu.tw/~cliao/b/m/62.htm (二○○○年),頁一~三八。

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