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研究生:林倍如
研究生(外文):Lin Bei-ru
論文名稱:受制與自由:山姆雪柏之愛情傻子與心靈謊言中兩種相反的動物
論文名稱(外文):Staying vs. Escaping: “Two Opposite Animals” in Sam Shepard’s Fool for Love and A Lie of the Mind
指導教授:李根芳李根芳引用關係
指導教授(外文):Lee Ken-fang
學位類別:碩士
校院名稱:國立中正大學
系所名稱:外國語文研究所
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:2004
畢業學年度:92
語文別:英文
論文頁數:97
中文關鍵詞:山姆雪柏心靈謊言愛情傻子移動不動男性女性
外文關鍵詞:Sam ShepardFool for LoveA Lie of the Mindmobilityimmobilitymalefemale
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論文摘要
山姆雪柏是當代美國劇場中著名的劇作家之一,但他以男性為中心的書寫方式,卻總是惹來爭議。在他的劇作當中,男性總是擔任著主要的中心角色,而女性角色卻是非常的不起眼。所有的女性在他的作品當中都是次要的、可有可無的、亦或是典型地被描寫著。反之,雪柏筆下的男性角色卻總能駕馭著整個舞台、場景、劇中語言以及,女人。也許是回應眾多爭議的聲浪,雪柏開始想要去創造一些更貼近女人的作品。在【愛情傻子】與 【心靈謊言】這兩部劇作之中,不但女性角色首次受到重視,男女關係的探討也取代了先前持續出現在雪柏劇中的男男關係,諸如父子關係、兄弟關係等。雖然這兩部劇作的主題類似,但其中所描述兩性之間的權力關係卻不盡相同。根據Jurij Lotman 與 Teresa de Lauretis 兩位評論家的理論,性別之間的可動性與性別之間的階級是息息相關的。例如:具有支配力的男性在空間上總是較有流動的自由,而順從的女性在空間上則是不動的。依著這樣的論點,我想要探討在雪柏頭兩部較貼近女人的作品中,兩性之間的權力是否為平衡。透過兩性可動性及不動性的探討,說明雪柏素以男性為中心的劇作,是否已改變轉換為以兩性為中心的作品。

Abstract
Despite his fame in American theater, Sam Shepard’s male-centered plays are always disputable. In his plays, the male characters are the centers of energy while the female characters take the peripheral roles. Females in his plays are minor, unimportant, and stereotypical. On the other hand, males in his plays dominate the stage, the spectacle, the language, and women.
Perhaps in response to the disputing voices, Shepard began to write plays which were more about women. In Fool for Love (1983) and A Lie of the Mind (1985), female roles were foregrounded, and the man-woman relationship instead of the man-man relationship was the focus for the first time. Although these two plays share a similar theme, power between the genders is not quite the same.
According to Jurij Lotman’s and Teresa de Lauretis’s theories, mobility between genders is related to the gender hierarchy. The dominant men are allowed to be mobile while the submissive women are destined to be immobile. Applying their theory, I am to examine whether Shepard’s first two plays, which are more about woman, are written on the basis of a balanced gender relationship. Through discussion of mobility and immobility between genders, I would like to observe whether Shepard’s male-centered theater has really evolved into a gender-balanced one.

Contents
Introduction---------------------------------------------1
Chapter One: Escaping and Staying in Fool for Love------11
A.The mobile male characters----------------------------18
B.The Immobile female characters------------------------34
Chapter Two: Escaping and Staying in A Lie of the Mind--45
A.The mobile and immobile male characters---------------48
B.The mobile and immobile female characters-------------66
Conclusion----------------------------------------------84
Bibliography--------------------------------------------90

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