1. NCCU Academic Hub
  2. 學術產出
  3. 外國語文學院
  4. 學位論文
  5. Item

學術產出-學位論文

文章檢視/開啟

書目匯出

Google ScholarTM

政大圖書館

引文資訊

TAIR相關學術產出

題名 馬夏‧諾曼戲劇中的空間壓迫
Spatial Repression In Marsha Norman`s Plays
作者 黃仕宜
Huang, Shih Yi
貢獻者 司徒芝萍
Patricia Ssutu
黃仕宜
Huang, Shih Yi
日期 2002
上傳時間 9-五月-2016 16:10:15 (UTC+8)
摘要 　　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。
     　　本篇論文分為六個章節。第一章總論諾曼與列斐伏爾，並說明將二者合併的理由。第二章為列斐伏爾的理論解讀與援用。接下來三章分別討論列斐伏爾的空間理論如何被暗示在諾曼的三齣戲中，以及兩者如何密切配合。最末章為總結，說明諾曼的角色確實在列斐伏爾的抽象空間中受到壓迫。
　　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.
參考文獻 Abrams, M. H. A Glossary of Literary Terms. Orlando: Harcourt Brace College Publishers, 1999.
     Ashley, Bob, ed. Reading Popular Narrative. London: Leicester UP, 1989.
     Bigsby, C.W.E. “Redefining the center: politics, race, gender.” Modern Armerican Drama, 1945-2000. New York: Cambridge UP, 2000.
     Brown, Linda Ginter Brown. “A Place at the Table.” Marsha Norman: a casebook. Ed. Linda Ginter Brown. New York: garland Publishing, Inc., 1996.
     Burke, Sally. “Feminisms: The Debate over Realism.” American Feminist Playwrights: A Critical History. New York: Twayne Publishers, 1996.
     Burkman, Katherine H. “The Demeter Myth and Doubling in Marsha Norman’s ‘night, Mother.” In Modern American Drama: The Female Canon, edited by June Schlueter. London: Associated UP, 1990. 254-263.
     Carroll, Michael Thomas. Popular Modernity in America. New York: New York UP, 2000.
     Childers, Joseph and Gary Hentzi. The Columbia Dictionary of Modern Literary and Cultural Criticism. New York: Columbia UP, 1995.
     Cline, Gretchen. “The Impossibility of Getting Out.” Marsha Norman: a casebook. Ed. Linda Ginter Brown. New York: garland Publishing, Inc., 1996.
     Cooperman, Robert. “’I Don’t Know What’s Going to Happen in the morning’.” Marsha Norman: a casebook. Ed. Linda Ginter Brown. New York: garland Publishing, Inc., 1996.
     Digaetani, John L. A Search for a Postmodern Theater. New York: Greenwood Press, 1991.
     Drew, Anne Marie. “’And the Time for It Was Gone’: Jessie’s Triumph in ‘night, Mother.” Marsha Norman: a casebook. Ed. Linda Ginter Brown. New York: garland Publishing, Inc., 1996.
     Fan, Mei-chin. “Traversing the Boundary: (Dis-)placement and (Re-)location in Ralph Ellison’s Invisible Man.” Diss. National Chung Hsing University, 1999.
     Foucault, Michel. The Foucault Reader. Ed. Paul Rabinow. New York, Pantheon, 1984.
     Freud, Sigmund. Civilization and Its Discontent. New York: W. W. Norton & Company, Inc., 1961.
     Gardiner, Michael E. Critiques of Everyday Life. New York: Routledge, 2000.
     Grantley, Darryll. “Marsha Norman.” American Drama. Ed. Clive Bloom. New York: St. Martin’s Press, Inc, 1995.
     Grönlund, Bo. “’The Production of Space’─ shown as diagrams.” Urbanity& Aesthetics on Lefebvre, Bo Brönlund. Online. 16 June 1999.
     Haedicke, Janet V. “Margins in the Mainstream: Contemporary Women Playwrights.” Realism and the American Dramatic Tradition. Ed. William W. Demastes. Alabama: Alabama UP, 1996.
     Hawthorne, Nathaniel. “Rappaccini’s Daughter.” The Norton Anthology of American Literature. 4th ed. Ed. Nina Baym. New York: W.W. Norton & Company, Inc., 1994. 1230- 1248.
     Kane, Leslie. “The Way out, the Way in: Paths to Self in the Plays of Marsha Norman.” Femininie Focus: The New Women Playwrights. Ed. Enoch Brater. Oxford: Oxford UP, 1989. 255-274.
     Kintz, Linda. The Subject’s Tragedy: Political Poetics, Feminist Theory, and Drama.Ann Arbor: Michigan UP, 1992.
     Kundert-Gibbs, John. “Rovolving It All.” Marsha Norman: a casebook. Ed. Linda Ginter Brown. New York: garland Publishing, Inc., 1996.
     Lefebvre, Henri. The Production of Space. Massachusett: Blackwell, 1991.
     Liggeet, Helen and David C. Perry, ed. Spatial Practices. London: Sage, 1995.
     Murray, Timothy. “Patriarchal Panopticism, or the Enigma of a Woman’s Smile: Getting Out in theory.” Drama Trauma. New York: Routledge, 1997.
     Norman, Marsha. Marsha Norman Collected Works volume 1. Lyme: Smith and Kraus, Inc, 1998.
     ------. ‘NIGHT, MOTHER. New York: Dramatists Play Service, Inc. 1983.
     Roudané, Matthew C. “Myths of Identity: American Women Playwrights.” American Drama since 1960: A Critical History. New York: Twayne, Publishers, 1996.
     Shields, Rob. Lefebvre, Love, and Struggle: Spatial Dialectics. New York: Routledge, 1999.
     Smith, Raynette Halvorsen. “’night, Mother and True West: Mirror Images of Violence and Gender.” Themes in Drama. Ed. James Redmond. Cambridge: Cambridge UP, 1991.
     Spencer, Jenny S. “Norman’s ‘night, Mother: Psycho-drama of Female Identity.” Modern Drama, 30, no.3: 364-375.
     Turner, Frederick Jackson. “The Significance of the Frontier in American History”. The Frontier in American History. New York: Holt, 1947.
     Watson, Charles S. “Past and Present Cultures in Recent Drama.” The History of Southern Drama. Kentucky: Kentucky UP, 1997.
     Wattenberg, Richard. “Feminizing the Frontier Myth: Marsha Norman’s The Holdup.” Modern Drama 33, no.4 (December 1990): 507-517.
     van Zoonen, Liesbet. Feminist Media Studies. London: SAGE, 1994.
描述 碩士
國立政治大學
英國語文學系
資料來源 http://thesis.lib.nccu.edu.tw/record/#A2010000402
資料類型 thesis
dc.contributor.advisor 司徒芝萍zh_TW
dc.contributor.advisor Patricia Ssutuen_US
dc.contributor.author (作者) 黃仕宜zh_TW
dc.contributor.author (作者) Huang, Shih Yien_US
dc.creator (作者) 黃仕宜zh_TW
dc.creator (作者) Huang, Shih Yien_US
dc.date (日期) 2002en_US
dc.date.accessioned 9-五月-2016 16:10:15 (UTC+8)-
dc.date.available 9-五月-2016 16:10:15 (UTC+8)-
dc.date.issued (上傳時間) 9-五月-2016 16:10:15 (UTC+8)-
dc.identifier (其他 識別碼) A2010000402en_US
dc.identifier.uri (URI) http://nccur.lib.nccu.edu.tw/handle/140.119/95393-
dc.description (描述) 碩士zh_TW
dc.description (描述) 國立政治大學zh_TW
dc.description (描述) 英國語文學系zh_TW
dc.description.abstract (摘要) 　　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。
     　　本篇論文分為六個章節。第一章總論諾曼與列斐伏爾，並說明將二者合併的理由。第二章為列斐伏爾的理論解讀與援用。接下來三章分別討論列斐伏爾的空間理論如何被暗示在諾曼的三齣戲中，以及兩者如何密切配合。最末章為總結，說明諾曼的角色確實在列斐伏爾的抽象空間中受到壓迫。		zh_TW
dc.description.abstract (摘要) 　　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.		en_US
dc.description.tableofcontents Acknowledgements-----iv
     Table of Contents-----V
     Chinese Abstract-----vi
     English Abstract-----vii
     Chapter One Introduction-----1
     Chapter Two Theoretical Formation-----11
     Chapter Three Spatial practice in `night, Mother-----22
     Chapter Four Representations of space in Getting Out-----40
     Chapter Five Representational space in The Holdup-----61
     Chapter Six Conclusion-----81
     Works Cited-----85		zh_TW
dc.source.uri (資料來源) http://thesis.lib.nccu.edu.tw/record/#A2010000402en_US
dc.title (題名) 馬夏‧諾曼戲劇中的空間壓迫zh_TW
dc.title (題名) Spatial Repression In Marsha Norman`s Playsen_US
dc.type (資料類型) thesisen_US
dc.relation.reference (參考文獻) Abrams, M. H. A Glossary of Literary Terms. Orlando: Harcourt Brace College Publishers, 1999.
     Ashley, Bob, ed. Reading Popular Narrative. London: Leicester UP, 1989.
     Bigsby, C.W.E. “Redefining the center: politics, race, gender.” Modern Armerican Drama, 1945-2000. New York: Cambridge UP, 2000.
     Brown, Linda Ginter Brown. “A Place at the Table.” Marsha Norman: a casebook. Ed. Linda Ginter Brown. New York: garland Publishing, Inc., 1996.
     Burke, Sally. “Feminisms: The Debate over Realism.” American Feminist Playwrights: A Critical History. New York: Twayne Publishers, 1996.
     Burkman, Katherine H. “The Demeter Myth and Doubling in Marsha Norman’s ‘night, Mother.” In Modern American Drama: The Female Canon, edited by June Schlueter. London: Associated UP, 1990. 254-263.
     Carroll, Michael Thomas. Popular Modernity in America. New York: New York UP, 2000.
     Childers, Joseph and Gary Hentzi. The Columbia Dictionary of Modern Literary and Cultural Criticism. New York: Columbia UP, 1995.
     Cline, Gretchen. “The Impossibility of Getting Out.” Marsha Norman: a casebook. Ed. Linda Ginter Brown. New York: garland Publishing, Inc., 1996.
     Cooperman, Robert. “’I Don’t Know What’s Going to Happen in the morning’.” Marsha Norman: a casebook. Ed. Linda Ginter Brown. New York: garland Publishing, Inc., 1996.
     Digaetani, John L. A Search for a Postmodern Theater. New York: Greenwood Press, 1991.
     Drew, Anne Marie. “’And the Time for It Was Gone’: Jessie’s Triumph in ‘night, Mother.” Marsha Norman: a casebook. Ed. Linda Ginter Brown. New York: garland Publishing, Inc., 1996.
     Fan, Mei-chin. “Traversing the Boundary: (Dis-)placement and (Re-)location in Ralph Ellison’s Invisible Man.” Diss. National Chung Hsing University, 1999.
     Foucault, Michel. The Foucault Reader. Ed. Paul Rabinow. New York, Pantheon, 1984.
     Freud, Sigmund. Civilization and Its Discontent. New York: W. W. Norton & Company, Inc., 1961.
     Gardiner, Michael E. Critiques of Everyday Life. New York: Routledge, 2000.
     Grantley, Darryll. “Marsha Norman.” American Drama. Ed. Clive Bloom. New York: St. Martin’s Press, Inc, 1995.
     Grönlund, Bo. “’The Production of Space’─ shown as diagrams.” Urbanity& Aesthetics on Lefebvre, Bo Brönlund. Online. 16 June 1999.
     Haedicke, Janet V. “Margins in the Mainstream: Contemporary Women Playwrights.” Realism and the American Dramatic Tradition. Ed. William W. Demastes. Alabama: Alabama UP, 1996.
     Hawthorne, Nathaniel. “Rappaccini’s Daughter.” The Norton Anthology of American Literature. 4th ed. Ed. Nina Baym. New York: W.W. Norton & Company, Inc., 1994. 1230- 1248.
     Kane, Leslie. “The Way out, the Way in: Paths to Self in the Plays of Marsha Norman.” Femininie Focus: The New Women Playwrights. Ed. Enoch Brater. Oxford: Oxford UP, 1989. 255-274.
     Kintz, Linda. The Subject’s Tragedy: Political Poetics, Feminist Theory, and Drama.Ann Arbor: Michigan UP, 1992.
     Kundert-Gibbs, John. “Rovolving It All.” Marsha Norman: a casebook. Ed. Linda Ginter Brown. New York: garland Publishing, Inc., 1996.
     Lefebvre, Henri. The Production of Space. Massachusett: Blackwell, 1991.
     Liggeet, Helen and David C. Perry, ed. Spatial Practices. London: Sage, 1995.
     Murray, Timothy. “Patriarchal Panopticism, or the Enigma of a Woman’s Smile: Getting Out in theory.” Drama Trauma. New York: Routledge, 1997.
     Norman, Marsha. Marsha Norman Collected Works volume 1. Lyme: Smith and Kraus, Inc, 1998.
     ------. ‘NIGHT, MOTHER. New York: Dramatists Play Service, Inc. 1983.
     Roudané, Matthew C. “Myths of Identity: American Women Playwrights.” American Drama since 1960: A Critical History. New York: Twayne, Publishers, 1996.
     Shields, Rob. Lefebvre, Love, and Struggle: Spatial Dialectics. New York: Routledge, 1999.
     Smith, Raynette Halvorsen. “’night, Mother and True West: Mirror Images of Violence and Gender.” Themes in Drama. Ed. James Redmond. Cambridge: Cambridge UP, 1991.
     Spencer, Jenny S. “Norman’s ‘night, Mother: Psycho-drama of Female Identity.” Modern Drama, 30, no.3: 364-375.
     Turner, Frederick Jackson. “The Significance of the Frontier in American History”. The Frontier in American History. New York: Holt, 1947.
     Watson, Charles S. “Past and Present Cultures in Recent Drama.” The History of Southern Drama. Kentucky: Kentucky UP, 1997.
     Wattenberg, Richard. “Feminizing the Frontier Myth: Marsha Norman’s The Holdup.” Modern Drama 33, no.4 (December 1990): 507-517.
     van Zoonen, Liesbet. Feminist Media Studies. London: SAGE, 1994.		zh_TW