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Spatial Repression In Marsha Norman's Plays
Huang, Shih Yi
Huang, Shih Yi
|Issue Date:||2016-05-09 16:10:15 (UTC+8)|
|Abstract:|| 本論文透過昂希．列斐伏爾(Henri Lefebvre)的空間理論進行探討馬夏．諾曼(Marsha Norman)劇中角色受壓迫的原因。諾曼擅長描述生命困境，並借助幽閉的舞台佈景讓角色們或奔向死亡，或投向不同的生活來做為擁抱最終的自由命運。
本文將採用列斐伏爾的「抽象空間」理論（theory of abstract space）做為檢視諾曼三個劇中主要角色受到壓迫的探討工具。其焦點在於深究抽象空間中內隱的衝突－即「一致」與「破碎」的並存；「質」與「量」的衝突；以及「需求」與「慾望」的對立－如何導致角色們受到壓抑。此分析將植基於列斐伏爾的三位一組的空間位元：感覺的空間、構思的空間與生活的空間（the triad of perceived, conceived, lived spaces）；其轉換為空間的概念名詞（spatial terms）為：空間實踐（spatial practice）、空間的呈現（representations of space）及呈現的空間註（representational spaces）。每個概念名詞分別強調日常生活的空間模式、專業計劃如城市規劃，及內化於空間中的象徵意義。空間位元中每個不同的概念分別配合著諾曼的三齣戲，即”晚安，媽媽”、”出獄” 以及 ”持槍攔截記”。本文將證實列斐伏爾的主張－抽象空間為壓迫空間；同時也確認了諾曼認為人類在現代社會受到壓迫的假設。
This thesis aims at exploring the ways Marsha Norman's characters are repressed in space by inviting Lefebvre's theory of space. Norman is good at depicting a compelling situation, which she often presents through the aid of a confined physical setting, to make her characters embrace the final destination of freedom, be it death or a different life.
I will adapt Lefebvre's theory of abstract space as the tool to analyze main characters' repression in Norman's three plays. My focus is on how the inherent conflicting elements of abstract space, namely the coexistence of homogeneity and fragmentary, quantity and quality, and the opposition between need and desire, result in the repression on characters. The analysis will base on Lefebvre's triad of perceived-conceived-lived spaces, which in spatial terms are: spatial practice, representations of space, and representational spaces. Each of the terms emphasizes respectively on the spatial pattern of daily life, professional arrangement like city planning, and symbolic meanings incarnated in space. Each different approach of the triad matches well with the three Norman's plays, namely ‘night, Mother, Getting Out, The Holdup. Through this thesis Lefebvre's assertion that abstract space is a repressive space and Norman's assumption that human beings are repressed in modern world will be proved.
The thesis is divided into six chapters. In the first chapter I will introduce both Norman and Lefebvre, and demonstrate the reasons of combining the two. The second chapter is my reading and appropriation of Lefebvre's theories of space. In the next three chapters I will respectively discuss the implication of Lefebvre's theories to the three of Norman's plays, ‘night, Mother, Getting Out, and The Holdup, and how well they work out together. The last chapter concludes Norman's characters are indeed repressed in Lefebvre's abstract space.
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