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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 |
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系所名稱 Department |
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畢業學年期 Year, semester |
語文別 Language |
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學位類別 Degree |
頁數 Number of pages |
260 |
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研究生 Author |
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指導教授 Advisor |
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召集委員 Convenor |
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口試委員 Advisory Committee |
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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 |
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統計 Statistics |
本論文已被瀏覽 5854 次,被下載 2819 次 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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