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博碩士論文 etd-0725106-162543 詳細資訊
Title page for etd-0725106-162543
論文名稱
Title
詮釋「他者」:曼莉 的《呂修斯》, 海鄔德的《美俘虜》,與殷琦博德的《竟有此事》
Explication of the Other in Manley’s Lucius, Haywood’s Fair Captive, and Inchbald’s Such Things Are
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
203
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
2006-06-29
繳交日期
Date of Submission
2006-07-25
關鍵字
Keywords
植民者、「自我」、征服者、壓迫者、被壓迫者、被植民者、被征服者、「他者」
the colonizer, the oppressed, the oppressor, the conquered, the conqueror, The Other, the Self, the colonized
統計
Statistics
本論文已被瀏覽 5719 次,被下載 14
The thesis/dissertation has been browsed 5719 times, has been downloaded 14 times.
中文摘要
雷威那的「他者」理論在哲學領域中引起廣泛的研究,也應用在文學領域中。以雷威那的「他者」理論為架構,從現象學的觀點,討論十八世紀女性劇作家—瑪麗•得
拉喜葳爾•曼莉《呂修斯》(1717), 伊莉莎•海鄔德《美俘虜》(1721),伊莉莎白•殷琦博德《竟有此事》(1787) 劇中的衝突主題。此研究不僅著重於壓迫者與被壓迫者之間的張力,也著重於被壓迫者,尤其是被壓迫的女性,面對壓迫時的處境與反應。
第一章為背景介紹,包括二十世紀的「他者」理論和雷威那的「他者」理論。「他者」理論涉及哲學、人類學、心理分析學與後殖民主義,而本論文注重於雷威那的「他
者」理論。雷威那以現象學家的觀點主張「自我」與「他者」之間為敵對關係。以雷威那作為主要的研究方法,此章討論三位女性劇作家劇本中所呈現的「自我」與「他者」之間的敵對現象。
第二章討論曼莉《呂修斯》劇中的「他者」。此討論關注羅馬統治不列顛時期,征服者布利頓人和被征服者匹克特人之間的對峙。被征服者的反應,及其隨著瞬息萬變的
環境而改變的身份,也是我主要的關注。
第三章分析海鄔德《美俘虜》劇中的「他者」。分析「自我」如何施暴於他者:西班牙王位繼承戰爭(1701-14) 之際,土耳其人基於種族和宗教的差異而迫害西班牙人。
我所著重的要點亦包括伊斯蘭教和基督教世界中的男人壓迫女人,此乃歸因於性別關係,牽涉到以父權制度為根基,存在於十八世紀的歐洲,男性虐待女人的現象。
第四章研究在殷琦博德的《竟有此事》劇中「他者」的論述。討論殷琦博德以東方主義者的角度看待蘇門答臘人,殖民者與被殖民者互動中所呈現的「自我」與「他者」
的張力,以及殖民社會裡,殖民與父權層面上主人與奴隸的張力。
最後一章強調「自我」與「他者」之間的關係為此論文做結論。十八世紀的英國遭遇各種不同的政治、文化難題:在內,即使在1707 年完成蘇格籣聯合,依然存有族
群問題;對外,縱使英國人喜愛模仿法國文化,卻依舊必須面對政治「他者」,法國。
英國的兩黨— 保王黨與維新黨處理政治議題時,意見相左,也造成政局動盪不安。在此之際,英國極力擴展疆域到其它國家,尤其是印度,以實施殖民主義,而政治緊張的局勢卻未稍減。文化差異造成族群之間非互惠即敵對的關係,在敵對的關係中,「自我」戀慕「他者」或是畏懼「他者」。這種「自我」戀慕「他者」或是「自我」畏懼「他者」的文化現象呈現在許多十八世紀女性劇作家的劇本中。本論文證明「自我」改變中心位置,終止控制「他者」,敵對關係就可能結束,誠如雷威那所指出的:
除非我們的自由意志傾向理性,並且尊重全人類,因此,理智的命令與規範將強加於每個人的自由意志上,以這種方式限制自己而不限制他人。(《異質性與超然存在》147-48)曼莉的《呂修斯》,海鄔德的《美俘虜》以及殷琦博德的《竟有此事》證明了這種情況。
關鍵字:「自我」、「他者」、壓迫者、被壓迫者、征服者、被征服者、殖民者、被殖民者
Abstract
Emmanuel Levinas’s theory on the Other gives rise to a number of researches in the field of philosophy, and it is applied to the field of literature. Taking Levinas’s theory on the
Other as a frame, from the perspective of phenomenology, I try to discuss the theme of
conflict in the three plays by the three eighteenth-century female playwrights— Mary
Delarivier Manley’s Lucius (1717), Eliza Haywood’s Fair Captive (1721), and Elizabeth
Inchbald’s Such Things Are (1787). This study focuses not only on the tension between the
oppressor and the oppressed, but also on the situation and reaction of the oppressed,
especially on the situation and reaction of the conquered women while they confront the persecution.
Chapter One is background introduction, which includes twentieth-century theories on
the Other, and Levinas’s theory on the Other. Theories of the Other are related to the fields
of philosophy, anthropology, psychoanalysis, and post-colonialism; however, the focus of this
dissertation is Levinas’s theory on the Other. Levinas asserts the rivalry between the Self
and the Other from a phenomenologist point of view. With Levinas as a major approach,
this chapter discusses the rival phenomenon between the Self and the Other as represented in
the three female playwrights’ dramas.
Chapter Two deals with a discussion on the Other in Manley’s Lucius, or the First
Christian King of Britain. This discussion is concerned with the confrontation between the
conqueror, the Britons and the conquered, the Picts during Roman Britain. The reaction of
the conquered, as well as the shifting identity of the conquered caused by the changed
circumstances are also my main concern.
Chapter Three is concerned with an analysis of the Other in Haywood’s Fair Captive.
I analyze the Self’s violence against the Other, the Turks’ persecution against the Spaniards,
which results from racial and religious differences as exposed during the War of the Spanish
Succession (1701-14). One of the ideas I focus on is men’s oppression against women,
either in the Islamic or in the Christian world, due to gender relations involved with a male
maltreatment of women which is rooted in the patriarchal system and commonly exists in
eighteenth-century Europe.
Chapter Four studies the discourse on the Other in Inchbald’s Such Things Are. I
discuss the Orientalist perspective of Inchbald regarding the Sumatrans, the tension between
the Self and the Other as represented in the interaction of the Britons and the Sumatrans,
along with the tension between the master and the slave on the colonial level, as well as on
the patriarchal level, as exercised in colonial society.
The final chapter concludes this dissertation with an emphasis on the relationship
between the Self and the Other. The Eighteenth-century England encountered a variety of
political and cultural problems. Within the country, England had ethnic problems, though
she had accomplished the Union with Scotland in 1707. Outside the country, England was
forced to face her political Other, France, though the English appreciated and imitated French
culture. Her two parties— the Tories and the Whigs, who maintained contradictory opinions
in dealing with political issues— also caused instability in the political arena. Meanwhile,
the political tension never mitigated when England endeavored to expand her territory into
other countries, especially into India in order to implement her colonialism. Cultural
differences result in either reciprocal or rival relationship between two peoples. In their
rivalry, the Self has a desire for or a fear of the Other. Such a cultural phenomenon--the
Self’s desire for or fear of the Other-- is presented in the plays of many eighteenth-century
female playwrights. This dissertation argues that when the Self alters his center-orientation
and terminates seeking mastery over the Other, it is possible to put an end to their rivalry, just
as Levinas indicates:
Unless we attribute to the essence of free will a propensity for the rational,
and, thus, a respect for universal, thanks to which the imperative and the
normative of the intelligible would impose themselves on the free will of
reach, consenting to limit itself in such a way as not to limit others.
(Alterity and Transcendence 147-48)
Manley’s Lucius, Haywood’s Fair Captive, and Inchbald’s Such Things Are all illustrate this
siltuation.
目次 Table of Contents
Chapter One Introduction 1
I. Theories on the Other 1
II. Emmanuel Levinas’s Theory on the Other 9
III. Presentation of the Other in the Eighteenth-Century English Plays 17
Chapter Two The Other in Mary Delarivier Manley's Lucius 39
I. The Invasion of the Conqueror and the Resistance of the Conquered 39
II. The Conqueror and the Conquered 48
III. The Situation and Reaction of the Conquered 53
Chapter Three The Other in Eliza Haywood’s Fair Captive 75
I. The Self’s Fear of the Other 76
II. The Self’s Desire for the Other 86
III. The Tension between Men and Women 90
A. Violence as Obsession 92
B. Violence as Death 107
Chapter Four The Other in Elizabeth Inchbald’s Such Things Are 118
I. The Oriental Gaze 119
II. The Confrontation between the Colonizer and the Colonized 127
III. The Relationship between the Master and the Slave 138
Chapter Five Conclusion 161
Works Cited 176
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D. Secondary Materials for Individual Authors
1. Mary Delarivier Manley (1663-1724)
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Fields, Polly Stevens. “Manley Vigor and Woman's Wit: Dialoguing Gender in the Plays of
Eliza Haywood.” Compendious Conversations: The Method of Dialogue in the
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Friedman-Romell, Beth H. “Breaking the Code: Toward a Reception Theory of Theatrical
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Pearson, Jacqueline. The Prostituted Muse: Images of Women and Women Dramatists,
1642-1737. New York: St. Martin’s, 1988.
Rose, Margaret. Political Satire and Reforming Vision in Eliza Haywood's Works.
Milano: Europrint, 1996.
Schofield, Mary Anne. “The Awakening of the Eighteenth-Century Heroic: Eliza
Haywood’s New Women.” Critic 43.3 (1981): 9-13.
---. “Expos&eacute; of the Popular Heroine: the Female Protagonists of Eliza Haywood.” Studies
in Eighteenth Century Culture 12 (1983): 93-103.
3. Elizabeth Simpson Inchbald (1753-1821)
Bolton, Betsy. “Farce, Romance, Empire: Elizabeth Inchbald and Colonial Discourse.”
Eighteenth Century 39.1 (1998): 3-24.
Bolton, Betsy, et al. Women, Nationalism and the Romantic Stage: Theatre and Politics in
Britain, 1780-1800. Cambridge: Cambridge UP, 1996.
Burroughs, Catherine B. Closet Stages: Joanna Baillie and the Theatre Theory of British
Romantic Women Writers. Philadelphia: U of Pennsylvania P, 1997.
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Carlson, Julie A. “Remaking Love: Remorse in the Theatre of Baillie and Inchbald.”
Women in British Romantic Theatre: Drama, Performance, and Society, 1790-1840.
Ed. Catherine Burroughs. Cambridge: Cambridge UP, 2000. 285-310.
Carlson, Marvin. “Elizabeth Inchbald: A Women Critic in Her Theatrical Culture.”
Women in British Romantic Theatre: Drama, Performance, and Society, 1790-1840.
Ed. Catherine Burroughs. Cambridge: Cambridge UP, 2000. 207-22.
Choudhury, Mita. “Gazing at His Seraglio: Late Eighteenth-Century Women Playwrights as
Orientalists.” Theatre Journal 47 (1995): 481-502.
Green, Katherine S. “‘You Should Be My Master’: Imperial Recognition Politics in
Elizabeth Inchbald's Such Things Are.” Clio 27.3 (1998): 387-414.
Hoagwood, Terence Allan. “Romantic Drama and Historical Hermeneutics.” British
Romantic Drama: Historical and Critical Essays. Eds. Terence Allan Hoagwood
and Daniel P. Watkins. Madison: Fairleigh Dickinson UP, 1998. 22-55.
Moreux, Fran&ccedil;oise. Elizabeth Inchbald et la com&eacute;die “sentimentale” anglaise au dixhuiti&egrave;me
si&egrave;cle. Paris: Aubier-Montaigne, 1971.
---. Elizabeth Inchbald et la revendication f&eacute;minine au dix-huiti&egrave;me si&egrave;cle. Lille: Editions
Universitaires, 1973.
O’Quinn, Daniel. “Inchbald’s Indies: Domestic and Dramatic Re-Orientations.” European
Romantic Review 9.2 (1998): 217-30.
---. “Scissors and Needles: Inchbald’s Wives as They Were, Maids as They Are and the
Governance of Sexual Exchange.” Theatre Journal 51 (1999): 105-125.
Quinsey, Katherine, ed. Broken Boundaries: Women & Feminism in Restoration Drama.
Lexington: UP of Kentucky, 1996.
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