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研究生:周玉玲
研究生(外文):Yu-Ling Erin
論文名稱:電影中感官主體間性的再現:查理‧考夫曼電影作品與莫里斯‧梅洛-龐蒂現象學之互映研究
論文名稱(外文):Filmic Representation of Carnal Inter-subjectivity: A Study of the Reciprocal Relation between Charlie Kaufman''s Films and Maurice Merleau-Ponty''s Phenomenology
指導教授:陳明媚陳明媚引用關係
指導教授(外文):Ming-May Jessie Chen
學位類別:碩士
校院名稱:靜宜大學
系所名稱:英國語文學系研究所
學門:人文學門
學類:外國語文學類
論文種類:學術論文
論文出版年:2006
畢業學年度:94
語文別:英文
論文頁數:102
中文關鍵詞:主體間性可逆性查理‧考夫曼莫里斯‧梅洛-龐蒂肉體身體主體體現知覺現象學
外文關鍵詞:Maurice Merleau-PontyIntersubjectivityEmbodimentCharlie KaufmanFleshBody-SubjectReversibilityPhenomenology of Perception
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論文摘要

自從十七世紀法國哲學家笛卡兒提出心物二元論以來,哲學家們皆將如何調和心靈與身體的運作視為人類思想最重要的課題。其中梅洛-龐蒂可以說是首位將身體性視為主體認知之必要根據的哲學家。他大量透過視覺和觸覺等生活經驗以及繪畫和電影等藝術作品來闡釋他的理論,認為人的身體不該單純地被歸類為主體或客體。因此,電影做為一個影像呈現的場域可說是值得作為檢視梅洛-龐蒂現象學的研究文本。本論文透過梅洛-龐蒂的現象學來詮釋考夫曼的電影作品,希望能進一步探索埋藏在影像表面下以及潛藏於劇作家思想中更深一層的意涵。

這篇論文共分為五個章節,第一章介紹心物二元的哲學背景及現象學與電影間的發展關係。第二章主要著眼於梅洛-龐蒂的身體主體及肉身觀念並將其運用在考夫曼的電影作品中。第三章分析考夫曼的電影作品交織互現特色所呈現出來的感官主體間性之可逆性概念。第四章探討賦體化主體的呈現,期望能從中發現另一種認識自我的觀點。第五章結論認為電影與哲學能夠透過跨學科的互惠研究而相得益彰。本論文經由探索身體所傳達出的訊息發現梅洛-龐蒂和考夫曼之間存有不斷衍生且意味深長的對話,相信電影和哲學的結合能激盪出燦爛的火花。
Abstract

Since French philosopher Rene Descartes advocated Mind-Body Dualism in the seventeenth century, the way how the movement of body and mind carries out their interaction has become an inextricable controversy. Among these controversies, Merleau-Ponty should be the first philosopher who should be given a needed acknowledgement for the importance of the human body to the philosophical study. He proposed that human body can not be regarded as pure subject or object. He explained his philosophy largely through living experience such as seeing and touching as well as artworks such as paintings and films to clarify his theory. In this regard, film as a ground of the representation of images can be a valuable text to examine Merleau-Ponty’s phenomenology. By applying Merleau-Ponty’s phenomenology to Kaufman’s films, this study hopes to explore the profound meaning deeply buried under the appearance of images and Kaufman’s thoughts.

The thesis is divided into five chapters. Chapter One introduces the philosophical context of the mind-body problem and the development of the relationship between phenomenology and cinema. Chapter Two focuses on Merleau-Ponty’s concept of body-subject and the notion of flesh and their application to Kaufman’s film works. Chapter Three investigates the reversibility of carnal inter-subjectivity as a feature of representation in Kaufman’s films. Chapter Four examines the representation of embodied subject in hope of finding some alternative perspectives on the understanding of the self. Chapter Five concludes that film and philosophy can reciprocally benefit each other through the interdisciplinary study. Through exploration of the information of body, this study finds an endless yet meaningful “conversation” between Merleau-Ponty and Kaufman and also believes that “marriage” of philosophy and film should be very promising.
Table of Contents


Chinese Abstract………………………………………………………………… iii
English Abstract………………………………………………………………… iv
Table of Contents……………………………………………………………… vi

Chapter I Introduction………………………………………………… 1
A. Statement of Problems……………………………………… 3
B. Theoretical Approaches…………………………………… 4
C. Charlie Kaufman as Auteur……………………………… 8
Chapter II The Information of the Lived Body…………………………… 14
A. Being as Body-Subject……………………………………16
1. Puppet on the String……………………………………17
2. Body as a Meaningful Core…………………………… 20
3. Irresistible Impulsion of the Body 22
B. Being as Flesh of the World………………………………… 24
1. Openness to John Malkovich…………………………… 24
2. Journey to the Reduction……………………………… 26
3. Inside and Outside……………………………………… 30
Chapter III The Flesh of the Life World 34
A. The Transitional Body……………………………………… 38
1. Being a Synchronic Perceiver………………………… 38
2. Self-identification Arisen From Naming……………… 42


B. Inter-subjectivity and Inter-corporeality…………………… 45
1. The Reversibility of Subject and Object……………… 47
2. Filmic Adaptation as Mutation of Its Source Novel…… 52


C. A Continuity of Embodied experience……………………… 58
1. Map of Clementine……………………………………… 58
2. Eternal Recurrence of the Memory…………………… 63
Chapter IV The Representation of Embodied Subject…………………… 69
A. Going In and Out ………………………………………… 72

1. Gaze—To See Is to Believe…………………………… 72

2. Body—Sense-ability and Response-ability…………… 74
B. Exploring the Depth of Human Beings…………………… 78
1. Confession as Remedy for the Irreducible……………… 78
2. The Indecipherable Speech of the Incarnate Subject…… 79
C. Blurring the Borderline…………………………………… 83
1. To See Is to Perceive…………………………………… 84
2. Cubist Screenwriting…………………………………… 87
Chapter V Conclusion…………………………………………………… 90
A. Filmic Philosophy—Philosophy Goes On the Screen……… 90
B. Philosophical Film—Body is a body is a body is a body… 94
Works Cited ………………………………………………………………… 97
Works Cited


Charlie Kaufman’s Works:

Adaptation. Dir. Spike Jonze. Columbia Pictures, 2002.
Being John Malkovich. Dir. Spike Jonze. USA Film, 1999.
Eternal Sunshine of the Spotless Mind. Dir. Michel Gondry. Universal Studios, 2004.
Human Nature. Dir. Michel Gondry. New Line Home Entertainment, 2000.

Maurice Merleau-Ponty’s Works:

Merleau-Ponty, Maurice. Sense and Non- Sense. Trans. Hubert L. Dreyfus & Patricia A. Dreyfus. Evanston: Northwestern UP, 1964.
---. Phenomenology of Perception. Trans. Colin Smith. London: Routledge, 1962.
---. The Primacy of Perception. Ed. James M. Edie. Evanston: Northwestern UP, 1964.
---. The Prose of the World. Ed. Claude Lefort. Trans. John O''Neill. Evanston: Northwestern UP, 1973.
---. The Visible and the Invisible. Ed. Claude Lefort. Trans. Alphonso Lingis. Evanston: Northwestern UP, 1968.
---. Signs. Trans. Hubert L. Dreyfus and Patricia Allen Dreyfus, Evanston: Northwestern UP, 1964.
---. Structure of Behavior. Trans. Alden L. Fisher. Boston: Beacon Press, 1963.

Books:

Blackburn, Simon. The Oxford Dictionary of Philosophy. Oxford: Oxford UP. 1994.
Bazin, Andre. What is cinema? Trans. Hugh Gray. Berkeley: University of California Press, 1967.
Bordwell, David, and Kristin Thompson. Film Art: An Introduction. New York: The McGraw-Hill, 1996.
Caserbier, Allan. Film and Phenomenology: Toward a Realist Theory of Cinematic Representation. Cambridge: Cambridge UP, 1991.
Cohen, Richard A. “Merleau-Ponty, the Flesh, and Foucault.” Rereading Merleau-Ponty: Essays Beyond the Continental-Analytic Divide. Ed. Lawrence Hass and Dorothea Olkowski. NY: Humanity Books, 2000.
Csordas, Thomas J. Introduction to Embodiment and Experience. Ed. Thomas J. Csordas. Cambridge: Cambridge UP, 1994.
Eco, Umberto. A Theory of Semiotics. Bloomington: Indiana University Press, 1976.
Feld, Rob. “Q & A with Charlie Kaufman and Spike Jonze.” Adaptation: The Shooting Script. Kaufman, Charlie and Donald Kaufman. NY: Newmarket Press, 2002.
---. “Q & A with Charlie Kaufman.” Eternal Sunshine of the Spotless Mind: The Shooting Script. Charlie Kaufman. NY: Newmarket Press, 2004.
Falzon, Christopher. Philosophy Goes to the Movies: An Introduction to Philosophy. London: Routledge, 2002.
Husserl, Edmund. The Crisis of European Sciences and Transcendental Phenomenology. Trans. David Carr. Evanston: Northwestern UP, 1970.
Ihde, Don. Technology and the Lifeworld: From Garden to Earth. Bloomington: Indiana University Press, 1990.
Jones, Amelia. Body Art / Performing the Subject. Minneappolis: U of Minnesota P, 1988.
Kaufman, Charlie. Being John Malkovich: Screenplay. London: Faber & Faber, 2000.
---. Eternal Sunshine of the Spotless Mind: The Shooting Script. NY: Newmarket Press, 2004.
---. Human Nature: The Shooting Script. Newmarket. NY: Newmarket Press, 2002.
---. Introduction to Being John Malkovich: Screenplay. Charlie Kaufman. London: Faber & Faber, 2000.
Kaufman, Charlie and Donald Kaufman. Adaptation: The Shooting Script. NY: Newmarket Press, 2002.
Kundera, Milan. The Unbearable Lightness of Being. Trans. Michael Henry Heim. New York: Perennial Classics, 1999.
Lee, Sander H. Woody Allen’s Angst: Philosophical Commentaries on his Serious Films. Jefferson: McFarland & Company, 1997.
---. Eighteen Woody Allen Films Analyzed: Anguish, God and Existentialism. McFarland & Company, 2002.
Litch, Mary. Philosophy Through Film. NY: Routledge, 2002.
Livingston, Paisley. “Theses on Cinema as Philosophy.” The Journal of Aesthetics and Art Criticism 64.1 (Winter 2006): 11-18.
Lyotard, Francis. The Postmodern Condition: A Report on Knowledge. Minneapolis: University of Minnesota Press, 1984.
Madison, Gary B. “Merleau-Ponty and Postmodernity.” The Hermeneutics of Postmodernity: Figures and Themes. Bloomington: Indiana University Press, 1988.
Madison, Gary Brent. The Phenomenology of Merleau-Ponty: A Search for the Limits of Consciousness. Athens: Ohio UP, 1991.
McKee, Robert. “Critical Commentary.” Eternal Sunshine of the Spotless Mind: The Shooting Script. Charlie Kaufman. NY: Newmarket Press, 2004.
---. Story: Substance, Structure, Style, and the Principles of Screenwriting. New York: Reganbooks, 2000.
Nietzsche, Friedrich. Beyond Good and Evil. Cambridge: Cambridge UP, 2001.
Orlean, Susan. The Orchid Thief: A True Story of Beauty and Obsession. NY: Ballantine Books, 2000.
---. “A Reader’s Guide.” The Orchid Thief: A True Story of Beauty and Obsession. Susan Orlean. NY: Ballantine Books, 2000.
Priest, Stephen. Merleau-Ponty. NY: Routledge, 1998.
Stam, Robert. Film theory: An Introduction. Malden, Mass.: Blackwell, 2000.
Stam, Robert and Alessandra Raengo, eds. Literature and Film: A Guide to the Theory and Practice of Film Adaptation. Malden: Blackwell, 2003.
Sobchack, Vivian. The Address of the Eye: A Phenomenology of Film Experience. Princeton UP, 1992.
---. Carnal Thoughts: Embodiment and Moving Image Culture. Berkeley and Los Angeles, CA: U of California P, 2004.
Stein, Gertrude. Geography and Plays. Lincoln: University of Nebraska Press, 1993.
Wartenberg, Thomas E. and Cynthia A. Freeland. Film and Philosophy. NY: Routledge, 1995.

Articles:

Bean, Henry. “Self-made Heroes.” Sight & Sound (March 2003): 17-19.
Grau, Christopher. “Eternal Sunshine of Spotless Mind and the Morality of Memory.” The Journal of Aesthetics and Art Criticism 64.1 (Winter 2006): 119-133.
Johnson, Brian D. “Loving in Oblivion.” Rev. of Eternal Sunshine of the Spotless Mind. Maclean’s 117.12 (March 2004): 43.
Kolker, R. P. and J. Douglas, Ousley. “A Phenomenology of Cinematic Time and Space.” British Journal of Aesthetics 13 (1973): 388-96.
Muldoon, Marc S. “Ricoeur and Merleau-Ponty on Narrative Identity.” The American Catholic Philosophical Quarterly 71.1 (1997): 1-18.
Perez, Gilberto. “Self-Illuminated.” Rev. of Godard: A Portrait of the Artist at 70 Colin. MacCabe. London Review of Books 26.7 (1 April 2004): 3-6.
Peterson, Thane. “Moveable Feast: A Memorable Bit of Sunshine.” Business Week Online (March 23), 2004.
Prendeville, Brendan. “Merleau-Ponty, Realism and Painting: Psychophysical Space and the space of Exchange.” Art History 22 (1999): 364-388.
Repass, Scott. Rev. of Being John Malkovich. By Charlie Kaufman. Film Quarterly 56.1 (December 2002): 29-36.
Shaw, Daniel. “On Being Philosophical and Being John Malkovich.” The Journal of Aesthetics and Art Criticism 64.1 (Winter 2006): 111-118.
Wartenberg, Thomas E. “Beyond Mere Illustration: How Films Can Be Philosophy.” The Journal of Aesthetics and Art Criticism 64.1 (Winter 2006): 19-32.
Whelan, Winifred. “Bodily Knowing: ‘More Ancient Than Thought’.” Religious Education 89.2 (1994): 184-193.

Online Resources:

Being Charlie Kaufman.com. Ed. Michael. May 2003 <http://www.beingcharliekaufman.com>
“Cezanne, Paul.” Encyclopdia Britannica. 2006. Encyclopdia Britannica Premium Service. 1 Aug. 2006 <http://www.britannica.com/eb/article-9022192>
“Charlie Kaufman’s Biography.” All Movie. 21 Dec. 2005
<http://www.allmovie.com/cg/avg.dll?p=avg&sql=2:271315~T1>
Fear, David. “Wanted: Charlie Kaufman, Outlaw Scribe.” Movie Maker. 54.10. Spring 2004 <http://www.moviemaker.com/issues/54/kaufman.html>
Nocenti, Annie. “Writing Being John Malkovich.” Interview with Charlie Kaufman, screenwriter of Being John Malkovich. Scenario. 2 Jan. 2006
<http://www.beingcharliekaufman.com/index.htm?articles/writingbjm.htm&2>
Overstreet, Jeffery. “Review of Eternal Sunshine of Spotless Mind.” ChristianityToday.Com 19 March 2004 <http://www.christianitytoday.com/movies/reviews/eternalsunshineofthespotlessmind.html>
Perez, Gilberto. “Self-Illuminated.” Rev. of Godard: A Portrait of the Artist. Colin MacCabe. NY: Farrar, Straus and Giroux, 2004 <http://www.thirdfactory.net/nb04Mar-June.html>
Popen, Shari. “Merleau-Ponty Confronts Postmodernism: A Reply to O’Loughlin.” <http://www.ed.uiuc.edu/EPS/PES-Yearbook/95_docs/popen.html>
Sragow, Michael. “Being Charlie Kaufman.” Salon.com 11 Nov. 1999
<http://www.salon.com/ent/col/srag/1999/11/11/kaufman/index.html>
Smith, Tom C. “Happiness is a warm portal: On being a tour through the History of Philosophy.” Metaphilm. March 21, 2004 <http://metaphilm.com/philm.php?id=296_0_2_0>
Totaro, Donato. “Andr Bazin: Part 2, Style as a Philosophical Idea”. Online journal. Offscreen. July 31, 2003 <http://www.offscreen.com>
Xi hau. “Film Review: The Frontal-Lobe Movie House.” Seehow’s Diary. 11 April 2006. <http://www.movie.idv.tw/seehow> retrieved 28 April 2006.
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