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研究生:邱芳莉
研究生(外文):Theresa F. Chiou
論文名稱:分割的舞台及其觀眾-勞倫司史坦”崔士強,山帝”中的主題性探討
論文名稱(外文):The Divided Stage and Its Audience:The Representation of Subjectivity in Laurence Sterne’s Tristram Shandy
指導教授:田偉文田偉文引用關係
指導教授(外文):Rudolphus Teeuwen
學位類別:碩士
校院名稱:國立中山大學
系所名稱:外國語文學系研究所
學門:人文學門
學類:外國語文學類
論文種類:學術論文
畢業學年度:92
語文別:英文
論文頁數:103
中文關鍵詞:遊戲洛克主題性崔士強山帝勞倫司史坦舞台
外文關鍵詞:Tristram ShandystageLockehobbyhorseselfTristramplayLaurence Sternesubjectivitygame
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Being classified in the “anti-tradition of unclassifiable books,” Laurence Sterne’s The Life and Opinions of Tristram Shandy, Gent. has fascinated generations of readers and critics with its seemingly chaotic richness. The narrator Tristram appears to hide his ultimate purpose and unity beneath a cloak of oddity and confusion, which defies any attempt on the reader’s part to ever pinning it down, and thus opens ground for various debates and critiques. Taking Tristram’s many futile efforts at tracing back the origin of his life as the starting point, this thesis attempts to explore the author-narrator’s deliberate use of oddity and confusion. The impossibility of ever finding a coherent and definite beginning of one’s life is read in my study as a metaphor of one’s losing battle at pinning down the concept of self, the embodiment of the ungraspable subjectivity. Not even Locke’s epistemology or the eighteenth-century knowledge of anthropology can serve as an adequate framework of reference for the account of one’s life, if it is to be interpreted as subjectivity. The fact that men are different from one another arises from their individual hobbyhorse, the manifestation of subjectivity, which resists attempts to be defined exactly and thus makes itself unfathomable. This discovery is the very basis of my reading of Tristram Shandy. Since subjectivity refuses to be grasped, my thesis then proceeds to investigate the way in which Tristram represents this ungraspable subjectivity. The concept of staging is employed in this thesis to explore Sterne’s deployment of subjectivity. On the stage where the many facets of each character’s singular microcosm are presented, it is demonstrated that the reader is also drawn into Tristram’s game play, only with the peculiar result that in discovering subjectivity (theirs and ours,) we trespass boundary and assume Tristram’s subjectivity.
Introduction: More Handles Than One 1

Chapter One: “Have You Not forgot to Wind Up the Clock?”—Subjectivity and the
Split of the Self 10
I. The Ever Receding Beginning as a Metaphor of Subjectivity 10
II. The Oblique Use of Locke’s Associationism 14
III. The Idiosyncratic Association and the Core of the Self 18
IV. Isolation as the Outgrowth of Subjectivity 20
A. The Unconscious Split of Self from the World 21
B. The Split Between a Fool’s Cap and an Idealist’s Heart 30
C. The Deliberate Split between Life and Writing 33

Chapter Two: Manifesting the Ungraspable on the Imaginary Stage 39
I. Subjectivity as Performance 39
A. The Divided Stage Orchestrated by the Actor-Director-Narrator 42
B. Gesture as a Means of Visualizing 45
II. The Characters’ Games and Role Play 52
A. Toby’s War Games 52
B. Walter’s Game of Theories and Hypotheses 58
C. Tristram’s Play of His Own Text and Role 61

Chapter Three: The Constant Speaker on the Stage and the Audience 65
I. “Writing Is But a Different Name for Conversation” 65
A. The Polyphonic Nature of Speech/Writing 66
B. Reader’s Participation in the Conversation 68
1. The Limited Freedom in Interpreting Text 69
2. The Ample Room for Reader’s Reflection and Conclusion Drawing 75
C. Writing as a Hobby-horse 79
II. The Humor of the Novel 83

Conclusion 94

Works Cited 99
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