臺灣博碩士論文加值系統

法蘭克•麥基尼斯（Frank McGuinness）是當代愛爾蘭的代表劇作家之一，可惜尚未為中文世界的讀者所熟悉，本文擬依據相關專書、論文、訪談和媒體報導等對他的三部劇作：《工廠女孩》（The Factory Girls，1982）、《看向索姆河前行的厄斯特之子》（Observe the Sons of Ulster Marching Towards the Somme，1985）和《吉普賽人騎著馬兒來》（There Came a Gypsy Riding，2007）進行研究，並嘗試就其創作的特色和底蘊作說明。麥基尼斯的劇作常令觀眾處於黑暗、無奈、焦慮的狀態，因此本論文將指出上述狀態的成因在於其作品隱含的「密室」模型。本論文所謂的密室即麥基尼斯慣用的寫作技巧，麥基尼斯寫作的目的及麥基尼斯希望傳遞給觀眾的訊息均通過這種寫作技巧得到體現。此外置於全球流變、跨國界、跨文化的背景下，密室還可被具象地看作劇中人「跨」越現狀的工具。
《工廠女孩》和《看向索姆河前行的厄斯特之子》是麥基尼斯早期的作品，《吉普賽人騎著馬兒來》則是近年新作，其間存在二十多年的時間跨度。愛爾蘭在這二十年中經濟發展迅速，愛爾蘭人不再大量移居他國，轉為外國人移民愛爾蘭，麥氏的劇作也反應此移動方向。本文第二章旨在說明兩部早期劇作各自代表兩種形態的密室：簡易型密室和複合型密室。第三章則證明密室仍適用於《吉普賽人騎著馬兒來》的解讀。第四章深入探索《吉普賽人騎著馬兒來》的寫作意涵，最終得到結論：麥基尼斯對生活在愛爾蘭土地上的人的關懷、對生命的尊重和對死亡的敬畏不僅不曾改變，也可以跨越國界和文化的藩籬，讓非英語文化的讀者所理解及動容。

Although Frank McGuinness is one of the most famous and prolific Irish playwrights, he has not been much recognized by the Chinese-speaking audience. The purpose of this research is thus to introduce him by analyzing characteristics of his plays, especially the Factory Girls (1982), Observe the Sons of Ulster Marching Towards the Somme (1985) and There Came a Gypsy Riding (2007).
One common feature in these three plays is that McGuinness tends to create and maintain a space of darkness, helplessness and anxiety, in which the significance of actions arises from “the closed room”—symbolically speaking. The closed room is unique in terms of depicting character’s shared dilemmas, while in the context of globalization and transnationalism, this technique is figuratively a tool for characters to accomplish the crossing action. Notably, the closed room is helpful in allowing the audience to realize the messages the playwright desires to express.
Both of The Factory Girls and Observe the Son of Ulster Marching Towards the Somme were written in the early 1980s, followed by There Came a Gypsy Riding produced twenty years later. During these two decades, the Irish migration wave has significantly shifted due to the rise of the Celtic Tiger. That said, more and more immigrants had settled down in Ireland from Asia, Africa and other European countries, while less and less Irish people immigrated to the foreign land. These three plays mirror such a change of tide. With Chapter 1 serving as an interdiction, Chapter 2 illustrates two forms of closure: the simple closed room and the compound one. Then the third chapter proves that both rooms are applicable to There Came a Gypsy Riding. Chapter 4 explores how to interpret Gypsy, according to the abovementioned models. To sum up, McGuinness seemingly never loses his attention on individuals, always caring for life and respecting the lessons of death.

口試委員會審定書 i
誌 謝 iii
摘 要 v
Abstract vi
目 錄 viii

第一章 緒論 1
第一節 研究動機 1
第二節 文獻回顧 5
第三節 研究方法與章節架 18
第二章 黑暗建構密室 23
第一節 特徵的組成 23
第二節 何為密室 25
第三章 《吉普賽人》與密室 51
第一節 劇本概述 51
第二節 密室尚存乎 56
第四章 《吉普賽人》與凱爾特之虎 82
第一節 現代性的後果 84
第二節 西部生活 95
第五章 結論 108

參考文獻 120
英文部分 120
中文部分 125

英文部分
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中文部分
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艾麗卡．費舍爾-李希特（Erika Fischer-Lichte）。《行為表演美學——關於演出的理論》。余匡复譯。上海：華東師範大學出版社，2012年。
陳瑞文。<德勒茲的電影系譜：電影與哲學互為的來龍去脈>，《現代美術學報》。第二十一期，2011年5月，頁105-136。
陳耀榮。<讀班雅明<歷史哲學論綱>，兼論<歲月神偷>>，《文化研究@嶺南》。卷29。2002年。
德斯佩爾德（L.A. Despelder）、斯特里克蘭（A.L. Strickland）。《最後的舞蹈：邂逅死亡與瀕死（第9版）》。陳國鵬等譯。上海：上海人民出版社，2013年。
賴光祺。《高度現代性之下的主體構成——紀登斯 (Anthony Giddens) 思想在教育上的推演》。 國立政治大學教育研究所博士學位論文，2007年。
里爾克（Rainer Maria Rilke）。《里爾克詩選》。臧棣編。北京：中國文學。1996年。
羅伯特．基（Robert Kee）。《愛爾蘭史》。潘興明譯。上海：東方出版中心。2010年。
葛文德（Atul Gawande）。《凝視死亡：一位外科醫師對衰老與死亡的思索》。廖月娟譯。台北：遠見天下文化，2015年。
邱方哲。《親愛的老愛爾蘭》。上海：上海三聯書店。2015年。
謝筱玫。<跨文化之後：《從歐藍朵》到《孟小冬》>，《戲劇研究》。第十期，2012年，頁139-162。
周惠民。《愛爾蘭史：詩人與歌者的國度》。台北：三民，2009年。
周桂田。<現代性與風險社會>，《台灣社會學刊》。第二十一期，1998年10月，頁89-129。