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博碩士論文 etd-0721107-214249 詳細資訊
Title page for etd-0721107-214249
論文名稱
Title
(英)The Evolving Gypsy Image and the Romani People in the Western Imagination
The Evolving Gypsy Image and the Romani People in the Western Imagination
系所名稱
Department
畢業學年期
Year, semester
語文別
Language
學位類別
Degree
頁數
Number of pages
260
研究生
Author
指導教授
Advisor
召集委員
Convenor
口試委員
Advisory Committee
口試日期
Date of Exam
2007-06-27
繳交日期
Date of Submission
2007-07-21
關鍵字
Keywords
none
George Henry Borrow, imagination, Romanies, Gypsy, Stereotype, Ian Hancock, Cervantes
統計
Statistics
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The thesis/dissertation has been browsed 5854 times, has been downloaded 2819 times.
中文摘要
none
Abstract
In Chapter 1, I posit a hypothesis about the way sensory input, memory, and imagination mingle in the mind, with the result that what we seem to experience is not actually all present in the outside world, but instead a blending of the three. External stimuli invoke, or call to mind, memories of old experiences as well as old imaginings … which bring about newly blended images. Since these blended images are not based entirely on actual experiences but instead on imagined scenes that are often inspired by creative art, they are frequently inaccurate. Nevertheless, the mind does not always make a distinction between what is true and what is merely assumed, leading to synecdochic fallacies and misconfirmed assumptions. I also describe how the initial impression of the Romanies was specifically an intentional image-forging attempt, which would have given settled Europe a favorable impression if some of the Romanies had not been caught breaking the law; as it was, both the favorable and unpleasant sides became lasting elements of the image, developed during the two pioneering decades following the initial meetings in 1417.
In the next two chapters, I examine how the processes I describe played out in Western culture, developed in the media of literature, which branched sharply off from reality and took on a stereotypical life all its own. The last chapter demonstrates how this divergence of reality and imagination is today as strong as ever, and also how the two are blended in the perceptions of today's Western mind. The end of the chapter takes all the preceding material into consideration, and proposes some ideas how the Western experience of interacting with the real Romany and the imaginary Gypsy—and my examination of this interaction—can help us to learn from history, and historical errors—to use the natural processes described to good purpose: to remove the unhealthy and harmful negative (i. e. false) Gypsy image from the Romanies. This sort of action is like removing the stigma of shame from someone who has reformed. Then the public imagination must be engaged, so that the stereotype-gap (one sort of information gap) is filled in with the image of the Romani as a real human group. If this “paradigm shift,” if it is not too incorrect to term it so, is achieved skillfully, the Roma may soon have a better chance of being related to more fairly, and the Gypsy image, which many have implied is somehow “needed” by the Western mind as the “epitome of freedom,” will be seen as a false, though charming, image, and further, confidence tricksters might even be referred to as the criminals they really are, whether or not they are Roma—without using the derogatory term “gypsy criminal.”
目次 Table of Contents
TABLE OF FIGURES VIII
A NOTE ON TERMINOLOGY IX
CHAPTER 1. THE IMAGINARY “GYPSY” 1
PURPOSES OF THE STUDY 6
THE IMAGINARY GYPSY 12
Essential Attributes of the Stereotypical Gypsy Image 17
The Romanies on Paper: The Representers and their Orientations 19
Playing With the Image: The Stereotype as a Creative Device 21
The Gypsy as the Other: Romanies Punished for Projected Crimes 24
THE BIRTH OF A STEREOTYPE 27
Phase One: The Mysterious Early History of the Romanies 27
Phase Two: The Grand Entrance, 1417: The Roma’s First Impression on Western Europe 33
Phase Three: From First Impression to Stereotype: Specific Traits of Gypsies Established by 1500 39
Notes 43
CHAPTER 2. THE GYPSY FIGURE IN RENAISSANCE LITERATURE 1521-1653 44
THE REBIRTH OF THE GYPSY IMAGE: THE CHARACTER UNDER NEW DIRECTION 44
LITERARY GYPSY FIGURES IN THE 1500S 45
The Gypsy Wanders on Stage: Three Sixteenth Century Dramas 45
Farsa das Ciganas (1521), by Gil Vicente 46
Misogonus (ca. 1560), Anonymous 47
Promos and Cassandra (1578), by George Whetstone 48
Elements of the Gypsy Image as Manifested on the Sixteenth-Century Stage 50
TABLE OF FIGURES VIII
A NOTE ON TERMINOLOGY IX
CHAPTER 1. THE IMAGINARY “GYPSY” 1
PURPOSES OF THE STUDY 6
THE IMAGINARY GYPSY 12
Essential Attributes of the Stereotypical Gypsy Image 17
The Romanies on Paper: The Representers and their Orientations 19
Playing With the Image: The Stereotype as a Creative Device 21
The Gypsy as the Other: Romanies Punished for Projected Crimes 24
THE BIRTH OF A STEREOTYPE 27
Phase One: The Mysterious Early History of the Romanies 27
Phase Two: The Grand Entrance, 1417: The Roma’s First Impression on Western Europe 33
Phase Three: From First Impression to Stereotype: Specific Traits of Gypsies Established by 1500 39
Notes 43
CHAPTER 2. THE GYPSY FIGURE IN RENAISSANCE LITERATURE 1521-1653 44
THE REBIRTH OF THE GYPSY IMAGE: THE CHARACTER UNDER NEW DIRECTION 44
LITERARY GYPSY FIGURES IN THE 1500S 45
The Gypsy Wanders on Stage: Three Sixteenth Century Dramas 45
Farsa das Ciganas (1521), by Gil Vicente 46
Misogonus (ca. 1560), Anonymous 47
Promos and Cassandra (1578), by George Whetstone 48
Elements of the Gypsy Image as Manifested on the Sixteenth-Century Stage 50
THE GALAPAGOS OF GENIUS: SHAKESPEARE AND CERVANTES, AHEAD OF THEIR TIME 57
Gypsy References in Shakespeare 58
Romeo and Juliet (1595) 60
Antony and Cleopatra (1607) 62
The Disremembered Archetype: Los Gitános in “La Gitanilla” 65
THE REFINEMENT OF THE STANDARD GYPSY IMAGE: THREE JACOBEAN PLAYS 86
Influx and Influences 86
The Jacobean Scripts 88
More Dissemblers Besides Women (1615), by Thomas Middleton. 88
The Gypsies Metamorphosed (1621), by Ben Jonson 89
The Spanish Gipsie (1623), by Thomas Middleton and William Rowley 92
The Image as Established in the Early Seventeenth Century: The First Plateau 93
Notes 96
CHAPTER 3. GEORGE BORROW’S REVIVAL OF THE GYPSY IMAGE IN THE 1800S 98
MARKING TIME: THE GYPSY IMAGE IN THE SEVENTEENTH AND EIGHTEENTH CENTURIES 101
Routine Persecution; Romany Tenacity 101
The Literary Gypsy in Stasis 106
Continuity and Adaptation in Portrayals of Gypsies 107
THE GYPSY IMAGE: STIRRINGS OF CHANGE 110
An Artistic Split in the Gypsy Image: 1807-1834 113
The Gypsy as Metaphor 114
Upholding the Status Quo 117
Continuations of the Enlightenment-Era Gypsy Figures in the Middle and Late 1800s 119
GEORGE HENRY BORROW’S ROLE IN THE REVISION OF THE GYPSY IMAGE, 1841-1874 125
Borrow’s Update of the Traditional Gypsy Image: Examination and Evaluation 129
Forging Links Between “La Gitanilla” and Borrow’s Experience of Spain’s Romanies 133
Borrow’s Accounts of the Romanies: Reliability Issues and their Effect on the Image 137
Correcting Stereotypes; Reinforcing Stereotypes: Borrow’s Gypsy Generalities 145
Internal Inconsistencies in Borrow’s Writing 147
Borrow and the Synecdochic Fallacy: Spain 149
Borrow and the Synecdochic Fallacy: England and Elsewhere 151
Borrow’s Revision of the Gypsy Image: Intention and Effects 157
AFTER BORROW: EFFECTS, THE UNAFFECTED, AND THE AFFECTATIONS 160
Borrow-aware Fiction 162
The Gypsiologists and their Paradoxical Effects on the Gypsy Image 164
Fresh Forging Supplanted by Forgery 167
Notes 171
CHAPTER 4. THE GYPSY IMAGE AFTER BORROW 175
BORROW, THE RAIS, AND THE DEATH OF GYPSY MYSTIQUE 175
THE OBLIVIOUS: CARAVAN TO THE PRESENT DAY 181
THE SOCIAL SITUATION OF THE MODERN ROMA 184
The Roma and their Rights in the Twenty-First Century 184
Romany Othering: a Reciprocally Negative Stereotype 188
Playing Into and Playing Against the Gypsy Image: Public Relations and Ambivalence 197
Gypsy Crime Task Forces, Crime Reporters, and their Victims 199
The Gypsy and the Tactics of Romani Rights Activism in America: Evaluation 215
LEARNING FROM HISTORY: FORETELLING THE FINAL SPLIT OF THE GYPSY/ROMANI IMAGE 217
Persuasive Entertainment that Effaces the Gypsy-Romany Conflation 226
A United Romany Professional and Political Organization: “The Character of a Nationality” 229
Romani Pride, Reloaded 232
CONCLUSION 233
Notes 237
WORKS CITED 239
APPENDIX: VISUAL REPRESENTATION OF THE EVOLUTION OF THE GYPSY IMAGE, 1417-PRESENT 248
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