臺灣博碩士論文加值系統

在跨文學，繪畫和電影的領域中，奧菲莉亞的形象在不同時期被呈現的方式也有所不同。在莎士比亞戲劇的原劇中,她被描述為脆弱和消極的性格。弗朗哥·澤菲雷利（Franco Zeffirelli）執導的電影《哈姆雷特（Hamlet）》（1990），以及肯尼思·布拉納（Kenneth Branagh）執導的電影《哈姆雷特（Hamlet）》（1996）二部電影都將她描述為嬌弱且順從的女孩。奧菲利亞的脆弱和順從，允許他人為她定義自己的生活，她不可避免地成為政治權力鬥爭的受害者。身為大臣的女兒，她必須約束自己的行為，並且與哈姆雷特保持距離。這些壓力最終導致她精神錯亂和死亡。在十九世紀，藝術家和作家將奧菲莉亞描述為受難美女。在維多利亞時代的思想影響下，他們認為女性應該注意自己的言行，並致力於家庭。他們將奧菲莉亞的美麗和脆弱的形象轉為浪漫的典範，將她變成了繆斯女神。在畫家的畫筆下，她成為一個優雅迷人的女孩，是年輕女性的榜樣。然而，在電影《奧菲莉亞（Ophelia）》（2018）中，她的形像被徹底顛覆。她成為堅定且自信的主角，充滿智慧和信心。作家麗莎·克萊茵（Lisa Klein）和電影編劇賽米·契拉斯 (Semi Chellas) 改寫了奧菲莉亞（Ophelia）從前的脆弱和順從的形象，並將她變成了堅強且獨立的主角。奧菲莉亞故事的改編重新塑造她溫順的形象，以鼓勵觀眾反思女性的自我價值。除了探討她的不同形象呈現的同時，論文還分析了代表奧菲莉亞的繪畫和電影中的重要象徵，例如白色雛菊意味純真和忠誠。奧菲莉亞在畫中的身體形象傳達了畫家對社會期待的回應。電影以約翰·埃弗里特·米萊斯（John Everett Millais）的畫作《奧菲莉亞（Ophelia）》(1851-1852)作為開場，奧菲莉亞溺死在水中，由靜態的影像轉換成動態的電影，奧菲莉亞從水中升起，從死亡到重生，重新定義並改寫了奧菲莉亞的形象。

Across the spectrum of literature, paintings, and film, Ophelia's image has been represented differently throughout the ages. In Shakespeare’s play, Ophelia is depicted as vulnerable and passive. Both of the movies Hamlet (1990), directed by Franco Zeffirelli, and Hamlet (1996), directed by Kenneth Branagh, portray her as fragile and submissive. Being docile and fragile and allowing others to define her life for her, Ophelia inevitably becomes the victim of a political power struggle. As the daughter of a minister, she has to behave herself and keep a distance from Hamlet. These pressures finally caused her insanity and death. In the nineteenth century, artists and writers depicted Ophelia as a victimized beauty. Influenced by Victorian thoughts, they believed that women should behave themselves and devote themselves to their families. They presented Ophelia’s beautiful and fragile image as a romantic ideal, transforming her into a muse. Under the painters’ brush, she becomes an elegant and charming lady, a role model for young women. However, in the film Ophelia (2018), her image is completely subverted. She becomes the lead character that is assertive, witty, and confident. Author Lisa Klein and screenwriter Semi Chellas rewrite Ophelia’s previous fragile and submissive image and turn her into a strong and independent protagonist. Ophelia's story's adaptation reshapes her compliant image to encourage viewers to reflect on women's self-worth. Along with examining these different representations, the thesis analyzes significant symbols in paintings and movies representing Ophelia, such as using white daisies as a symbol of innocence and loyalty. Ophelia’s physical representation in paintings conveys each painters' response to social expectation. The film begins with John Everett Millais's painting Ophelia (1851-1852), with Ophelia drowning in the water and transforming the static image to a motion picture with Ophelia rising from the water, a process of death to rebirth, to redefine and rewrite the image of Ophelia.

Introduction 　 1
Chapter I: Ophelia in Shakespeare’s Hamlet 5
1.1 Ophelia Under Patriarchy 5
1.2 Ophelia’s Love and Desire 9
1.3 Ophelia’s Madness 15
Chapter 2: Representations of Ophelia in Paintings 22
2.1 The Representation of Ophelia’s Image in the Victorian Era 22
2.2 Arthur Hughes (1832–1915) 25
2.3 John William Waterhouse (1849-1917) 28
2.4 John Everett Millais (1829–1896) 31
Chapter 3: Ophelia in Claire McCarthy’s Film Ophelia 40
3.1 The Origin of Claire McCarthy’s Ophelia 40
3.2 Ophelia’s Representation 43
3.3 Ophelia’s Voice 48
3.4 A Feminist Perspective of Ophelia 54
Conclusions 62
Appendix 65
Works Cited 72

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