學術產出-Theses
Article View/Open
Publication Export
-
題名 《玫瑰紋身》中薩拉菲娜的苦難與成長
Suffering and Transformation of Serafina in The Rose Tattoo作者 高學賢
Kao, Hsueh-Hsien貢獻者 姜翠芬
Jiang, Tsui-Fen
高學賢
Kao, Hsueh-Hsien關鍵詞 人物塑造
人性
苦難
象徵
崇拜
成長
Characterization
Humanity
Suffering
Symbolism
Worship
Transformation日期 2019 上傳時間 2-Mar-2020 10:56:43 (UTC+8) 摘要 田納西・威廉斯的作品：《玫瑰紋身》並不像他其他的作品富有盛名，然而《玫瑰紋身》與上述所說的劇本不同之處為：它是一部更樂觀及讓人發笑的喜劇。威廉斯在劇中使用大量的象徵手法，也呈現劇中的荒誕(Grotesqueness)與酒神元素(Dionysian elements)，並討論其文化背景對角色雕塑的影響。本論文探討《玫瑰紋身》中不斷重複與誇飾的象徵手法之解析，特別是與「玫瑰相關」的象徵。威廉斯透過大量使用「玫瑰」的象徵完成了劇中主人翁：薩拉菲娜・德拉蘿絲的人物塑造，他向我們介紹了這位不完整並且苦命的女性主角。同時透過相同的手法他也帶出了薩拉菲娜人格中最大的問題：她對「丈夫崇拜」的極端與沈溺。在這篇論文中我嘗試使用佛洛伊德的防禦機制理論來解釋薩拉菲娜對於丈夫出軌的現實醜惡的逃避和拒絕，以及他是如何壓抑自己的性慾，進而導致他與她的女兒蘿莎受盡苦難。在本劇的最後，薩拉菲娜終於從悲劇的人生解脫。她的成長不僅只是從幻想回到現實，更是一種對人性深刻的理解。本論文旨在呈現威廉斯精彩的人物塑造，以及作者精準描述主人翁在苦難後仍能堅強成長並且從獲新生。
The Rose Tattoo (1951), composed by Tennessee Williams, is not his very famous play, yet it still stands out from the rest of his plays as it is a rather optimistic comedy. Symbolism is largely used in this play along with the discussion of the grotesqueness, the Dionysian elements, the global and cultural context.This thesis focus on the analysis of the repetitive and ambivalent “rose-related” symbolism in the play. By excessively using these symbols, Williams introduces theincomplete and sad female protagonist, Serafina Delle Rose. The usage of the excessive symbolism also brings out her biggest problem: her over-indulgence on husband-worship. With the help of Freudian theory of the defense mechanism, I try to elaborate how Serafina denies the ugly truth of her husband’s adultery and confinesher sexual desire, and makes her along with her daughter, Rosa, suffer. In the end of the play, Serafina can finally liberate herself from the tragic situation. Her transformation is not merely an awakening from illusion to reality, but also the realization of humanity. Finally, this thesis intends to connect our sympathy with Serafina’s suffering; moreover, it seeks to present Williams’ successful characterization of Serafina’s thriving and transforming into a happier and more fulfilled person.參考文獻 Alder, Thomas P. “Tennessee Williams in the 1940s and 1950s: Artist of Fugitive Kind.” American Drama, 1940-1960: A Critical History, Twayne Publishers, 1994, pp. 147-149.Anca, Husti, and Cantor Maria. “Sacred Connection of Ornamental Flowers with Religious Symbols.” ProEnvironemnt, 2015, pp. 73-79.http://journals.usamvcluj.ro/index.php/promediu. Accessed 11 July 2019.Buss, Laura, and Karen Hodges. “Marked: Tattoo as an Expression ofPsyche.” Psychological Perspectives, vol. 60, no. 1, Jan. 2017, pp. 4-38. EBSCOhost, doi:10.1080/00332925.2017.1282251. Accessed 15 July 2019.Cardullo, Bert. “Realism, Naturalism, Modern American Drama—and Modern American Dramatic Criticism.” American Drama/Critics: Writing and Readings, Cambridge Scholars Publishing, 2007, pp. 4-5.Cohn, Ruby. “The Garrulous Grotesques of Tennessee Williams.” Modern Critical Views Tennessee Williams, edited by Harold Bloom, Chelsea House Publishers, 1987, pp. 55-70.Cramer, Phebe. “Understanding Defense Mechanisms.”Psychodynamic Psychiatry,vol. 43, no. 4, Dec. 2015, pp. 523–52, doi:10.1521/pdps.2015.43.4.523. Accessed 10 November 2018.De Angelis, Rose. “The Rose Tattoo: Reading Tennessee Williams’s Play in a CulturalContext.” The Tennessee Williams Annual Review, issue 13, 2012, http://www.tennesseewilliamsstudies.org/journal/work.php?ID=114. Accessed 9 November 2018.Freud, Sigmund. The Ego and the Id. Translated by Joan Riviere, revised and edited by James Strachey, W.W. Norton & Company, 1962, pp. 14-21.Graziano, Frank. “Miracle of the Rose” Wounds of Love: The Mystical Marriage of Saint Rose of Lima, January, 2005. Oxford Scholarship Online, doi: 10.1093/0195136403.001.0001. Accessed 15 January 2019. "The Rose Tattoo." Drama for Students, edited by David A. Galens, vol. 18, Gale, 2003, pp. 176-206. Gale Virtual Reference Library, http://link.galegroup.com/apps/doc/CX3420200020/GVRL?u=nccu&sid=GVRL &xid=e494f981. Accessed 27 Apr. 2019.Gilabert Barberà, Pau. “Literature and Mythology in Tennessee Williams’s SuddenlyLast Summer: fighting against Venus and Oedipus.” Dipòsit Digital de la Universitat de Barcelona, 2006, pp.1-11, http://hdl.handle.net/2445/12135. Accessed 25 April 2019.Parker, Brian. “The Rose Tattoo as Comedy of the Grotesque.” The Tennessee Williams Annual Review, issue 6, 2003,www.tennesseewilliamsstudies.org/journal/work.php?ID=52. Accessed 14 August 2018."patriarchy, n." OED Online, Oxford University Press, December 2019,www.oed.com/view/Entry/138873. Accessed 20 January 2019.Quinlan, Stefanie. “The Gnädiges Fräulein: Tennessee Williams’s Southernmost Belle.” The Tennessee Williams Annual Review, issue 11, 2010, http://www.tennesseewilliamsstudies.org/journal/work.php?ID=100. Accessed 15 January 2019.Rea, Robert. “Tennessee Williams’s The Rose Tattoo: Sicilian Migration and the Mississippi Gulf Coast.” The Southern Literary Journal, vol. 46, no. 2, Spring 2014, pp140-154. doi:10.1353/slj.2014.0009. Accessed 10 April 2018.Siorat, Cyril. “The Art of Pain.” Fashion Theory: The Journal of Dress, Body & Culture, vol. 10, no. 3, Sept. 2006, pp. 367–380. EBSCOhost,doi:10.2752/136270406778050978. Accessed 15 July 2019.Stevens, Richard. “Chapter 5: Psychodynamics.” Freud and Psychoanalysis, Open University Press, 1983, pp. 44-56.Terkel, Studs. “Studs Terkel Talks with Tennessee Williams.” Conversation with Tennessee Williams, edited by Albert J. Devlin, Press of Mississippi, 1986, pp. 78-94.Thompson, Judith J. “Introduction.” Tennessee Williams’ Plays: Memory, Myth, and Symbol, University of Kansas of Humanistic Studies: vol. 54, Peter Lang Publishing, Inc., New York, 1987, pp. 2-12.---. “Chapter Three: The Rose Tattoo.” Tennessee Williams’ Plays: Memory, Myth, andSymbol, University of Kansas of Humanistic Studies: vol. 54, Peter Lang Publishing, Inc., New York, 1987, pp.53-59.Wager, Wager. “Tennessee Williams.” Conversation with Tennessee Williams, edited by Albert J. Devlin, Press of Mississippi, 1986, pp. 124-133.Walton, J.Michael. “Dionysus: The Victorian Outcast.” Victorian Review, vol. 34, no. 2, Fall 2008, pp. 185–200. EBSCOhost, doi:10.1353/vcr.2008.0049. Accessed 15 November 2019.Williams, Dakin, and Mead Shepherd. Tennessee Williams. Arbor House, New York1983, pp. 171.Williams, Tennessee. The Rose Tattoo. Three by Tennessee: Sweet Bird of Youth; The Rose Tattoo; The Night of the Iguana, New American Library Classics, 1976, pp.129-253.---. A Streetcar Named Desire. The Theatre of Tennessee Williams Volume 1, New Directions Books, 1971, pp. 418.---. The Glass Menagerie. The Theatre of Tennessee Williams Volume 1, New Directions Books, 1971, pp. 187.---. “The Timeless World of a Play” Three by Tennessee: Sweet Bird of Youth; The Rose Tattoo; The Night of the Iguana, New American Library Classics, 1976, pp. 129-133.---. “The Meaning of The Rose Tattoo.” Where I Live: Selected Essays, edited by Christine R. Day and Bob Woods, New Directions Publishing, 1978, pp. 55-57. 描述 碩士
國立政治大學
英國語文學系
105551004資料來源 http://thesis.lib.nccu.edu.tw/record/#G0105551004 資料類型 thesis dc.contributor.advisor 姜翠芬 zh_TW dc.contributor.advisor Jiang, Tsui-Fen en_US dc.contributor.author (Authors) 高學賢 zh_TW dc.contributor.author (Authors) Kao, Hsueh-Hsien en_US dc.creator (作者) 高學賢 zh_TW dc.creator (作者) Kao, Hsueh-Hsien en_US dc.date (日期) 2019 en_US dc.date.accessioned 2-Mar-2020 10:56:43 (UTC+8) - dc.date.available 2-Mar-2020 10:56:43 (UTC+8) - dc.date.issued (上傳時間) 2-Mar-2020 10:56:43 (UTC+8) - dc.identifier (Other Identifiers) G0105551004 en_US dc.identifier.uri (URI) http://nccur.lib.nccu.edu.tw/handle/140.119/128765 - 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 (描述) 105551004 zh_TW dc.description.abstract (摘要) 田納西・威廉斯的作品：《玫瑰紋身》並不像他其他的作品富有盛名，然而《玫瑰紋身》與上述所說的劇本不同之處為：它是一部更樂觀及讓人發笑的喜劇。威廉斯在劇中使用大量的象徵手法，也呈現劇中的荒誕(Grotesqueness)與酒神元素(Dionysian elements)，並討論其文化背景對角色雕塑的影響。本論文探討《玫瑰紋身》中不斷重複與誇飾的象徵手法之解析，特別是與「玫瑰相關」的象徵。威廉斯透過大量使用「玫瑰」的象徵完成了劇中主人翁：薩拉菲娜・德拉蘿絲的人物塑造，他向我們介紹了這位不完整並且苦命的女性主角。同時透過相同的手法他也帶出了薩拉菲娜人格中最大的問題：她對「丈夫崇拜」的極端與沈溺。在這篇論文中我嘗試使用佛洛伊德的防禦機制理論來解釋薩拉菲娜對於丈夫出軌的現實醜惡的逃避和拒絕，以及他是如何壓抑自己的性慾，進而導致他與她的女兒蘿莎受盡苦難。在本劇的最後，薩拉菲娜終於從悲劇的人生解脫。她的成長不僅只是從幻想回到現實，更是一種對人性深刻的理解。本論文旨在呈現威廉斯精彩的人物塑造，以及作者精準描述主人翁在苦難後仍能堅強成長並且從獲新生。 zh_TW dc.description.abstract (摘要) The Rose Tattoo (1951), composed by Tennessee Williams, is not his very famous play, yet it still stands out from the rest of his plays as it is a rather optimistic comedy. Symbolism is largely used in this play along with the discussion of the grotesqueness, the Dionysian elements, the global and cultural context.This thesis focus on the analysis of the repetitive and ambivalent “rose-related” symbolism in the play. By excessively using these symbols, Williams introduces theincomplete and sad female protagonist, Serafina Delle Rose. The usage of the excessive symbolism also brings out her biggest problem: her over-indulgence on husband-worship. With the help of Freudian theory of the defense mechanism, I try to elaborate how Serafina denies the ugly truth of her husband’s adultery and confinesher sexual desire, and makes her along with her daughter, Rosa, suffer. In the end of the play, Serafina can finally liberate herself from the tragic situation. Her transformation is not merely an awakening from illusion to reality, but also the realization of humanity. Finally, this thesis intends to connect our sympathy with Serafina’s suffering; moreover, it seeks to present Williams’ successful characterization of Serafina’s thriving and transforming into a happier and more fulfilled person. en_US dc.description.tableofcontents Chinese Abstract vEnglish Abstract viChapter One: Introduction 1Chapter Two: The Ambivalent Symbolism of “Rose” 14Chapter Three: Serafina’s Final Acceptance and Transformation 36Chapter Four: Conclusion 58Works Cited 62 zh_TW dc.format.extent 1007871 bytes - dc.format.mimetype application/pdf - dc.source.uri (資料來源) http://thesis.lib.nccu.edu.tw/record/#G0105551004 en_US dc.subject (關鍵詞) 人物塑造 zh_TW dc.subject (關鍵詞) 人性 zh_TW dc.subject (關鍵詞) 苦難 zh_TW dc.subject (關鍵詞) 象徵 zh_TW dc.subject (關鍵詞) 崇拜 zh_TW dc.subject (關鍵詞) 成長 zh_TW dc.subject (關鍵詞) Characterization en_US dc.subject (關鍵詞) Humanity en_US dc.subject (關鍵詞) Suffering en_US dc.subject (關鍵詞) Symbolism en_US dc.subject (關鍵詞) Worship en_US dc.subject (關鍵詞) Transformation en_US dc.title (題名) 《玫瑰紋身》中薩拉菲娜的苦難與成長 zh_TW dc.title (題名) Suffering and Transformation of Serafina in The Rose Tattoo en_US dc.type (資料類型) thesis en_US dc.relation.reference (參考文獻) Alder, Thomas P. “Tennessee Williams in the 1940s and 1950s: Artist of Fugitive Kind.” American Drama, 1940-1960: A Critical History, Twayne Publishers, 1994, pp. 147-149.Anca, Husti, and Cantor Maria. “Sacred Connection of Ornamental Flowers with Religious Symbols.” ProEnvironemnt, 2015, pp. 73-79.http://journals.usamvcluj.ro/index.php/promediu. Accessed 11 July 2019.Buss, Laura, and Karen Hodges. “Marked: Tattoo as an Expression ofPsyche.” Psychological Perspectives, vol. 60, no. 1, Jan. 2017, pp. 4-38. EBSCOhost, doi:10.1080/00332925.2017.1282251. Accessed 15 July 2019.Cardullo, Bert. “Realism, Naturalism, Modern American Drama—and Modern American Dramatic Criticism.” American Drama/Critics: Writing and Readings, Cambridge Scholars Publishing, 2007, pp. 4-5.Cohn, Ruby. “The Garrulous Grotesques of Tennessee Williams.” Modern Critical Views Tennessee Williams, edited by Harold Bloom, Chelsea House Publishers, 1987, pp. 55-70.Cramer, Phebe. “Understanding Defense Mechanisms.”Psychodynamic Psychiatry,vol. 43, no. 4, Dec. 2015, pp. 523–52, doi:10.1521/pdps.2015.43.4.523. Accessed 10 November 2018.De Angelis, Rose. “The Rose Tattoo: Reading Tennessee Williams’s Play in a CulturalContext.” The Tennessee Williams Annual Review, issue 13, 2012, http://www.tennesseewilliamsstudies.org/journal/work.php?ID=114. Accessed 9 November 2018.Freud, Sigmund. The Ego and the Id. Translated by Joan Riviere, revised and edited by James Strachey, W.W. Norton & Company, 1962, pp. 14-21.Graziano, Frank. “Miracle of the Rose” Wounds of Love: The Mystical Marriage of Saint Rose of Lima, January, 2005. Oxford Scholarship Online, doi: 10.1093/0195136403.001.0001. Accessed 15 January 2019. "The Rose Tattoo." Drama for Students, edited by David A. Galens, vol. 18, Gale, 2003, pp. 176-206. Gale Virtual Reference Library, http://link.galegroup.com/apps/doc/CX3420200020/GVRL?u=nccu&sid=GVRL &xid=e494f981. Accessed 27 Apr. 2019.Gilabert Barberà, Pau. “Literature and Mythology in Tennessee Williams’s SuddenlyLast Summer: fighting against Venus and Oedipus.” Dipòsit Digital de la Universitat de Barcelona, 2006, pp.1-11, http://hdl.handle.net/2445/12135. Accessed 25 April 2019.Parker, Brian. “The Rose Tattoo as Comedy of the Grotesque.” The Tennessee Williams Annual Review, issue 6, 2003,www.tennesseewilliamsstudies.org/journal/work.php?ID=52. Accessed 14 August 2018."patriarchy, n." OED Online, Oxford University Press, December 2019,www.oed.com/view/Entry/138873. Accessed 20 January 2019.Quinlan, Stefanie. “The Gnädiges Fräulein: Tennessee Williams’s Southernmost Belle.” The Tennessee Williams Annual Review, issue 11, 2010, http://www.tennesseewilliamsstudies.org/journal/work.php?ID=100. Accessed 15 January 2019.Rea, Robert. “Tennessee Williams’s The Rose Tattoo: Sicilian Migration and the Mississippi Gulf Coast.” The Southern Literary Journal, vol. 46, no. 2, Spring 2014, pp140-154. doi:10.1353/slj.2014.0009. Accessed 10 April 2018.Siorat, Cyril. “The Art of Pain.” Fashion Theory: The Journal of Dress, Body & Culture, vol. 10, no. 3, Sept. 2006, pp. 367–380. EBSCOhost,doi:10.2752/136270406778050978. Accessed 15 July 2019.Stevens, Richard. “Chapter 5: Psychodynamics.” Freud and Psychoanalysis, Open University Press, 1983, pp. 44-56.Terkel, Studs. “Studs Terkel Talks with Tennessee Williams.” Conversation with Tennessee Williams, edited by Albert J. Devlin, Press of Mississippi, 1986, pp. 78-94.Thompson, Judith J. “Introduction.” Tennessee Williams’ Plays: Memory, Myth, and Symbol, University of Kansas of Humanistic Studies: vol. 54, Peter Lang Publishing, Inc., New York, 1987, pp. 2-12.---. “Chapter Three: The Rose Tattoo.” Tennessee Williams’ Plays: Memory, Myth, andSymbol, University of Kansas of Humanistic Studies: vol. 54, Peter Lang Publishing, Inc., New York, 1987, pp.53-59.Wager, Wager. “Tennessee Williams.” Conversation with Tennessee Williams, edited by Albert J. Devlin, Press of Mississippi, 1986, pp. 124-133.Walton, J.Michael. “Dionysus: The Victorian Outcast.” Victorian Review, vol. 34, no. 2, Fall 2008, pp. 185–200. EBSCOhost, doi:10.1353/vcr.2008.0049. Accessed 15 November 2019.Williams, Dakin, and Mead Shepherd. Tennessee Williams. Arbor House, New York1983, pp. 171.Williams, Tennessee. The Rose Tattoo. Three by Tennessee: Sweet Bird of Youth; The Rose Tattoo; The Night of the Iguana, New American Library Classics, 1976, pp.129-253.---. A Streetcar Named Desire. The Theatre of Tennessee Williams Volume 1, New Directions Books, 1971, pp. 418.---. The Glass Menagerie. The Theatre of Tennessee Williams Volume 1, New Directions Books, 1971, pp. 187.---. “The Timeless World of a Play” Three by Tennessee: Sweet Bird of Youth; The Rose Tattoo; The Night of the Iguana, New American Library Classics, 1976, pp. 129-133.---. “The Meaning of The Rose Tattoo.” Where I Live: Selected Essays, edited by Christine R. Day and Bob Woods, New Directions Publishing, 1978, pp. 55-57. zh_TW dc.identifier.doi (DOI) 10.6814/NCCU202000217 en_US
