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題名 打造渥坦貝克《吾國吾民》中之擬像世界
Building A Simulacrum in Timberlake Wertenbaker’s Our Country’s Good作者 吳亭彣
Wu, Ting-Wen貢獻者 楊麗敏
Yang, Lin-Min
吳亭彣
Wu, Ting-Wen關鍵詞 渥坦貝克
《吾國吾民》
尚．布希亞
擬仿物
擬像
歷史
劇場
符號
意象
Timberlake Wertenbaker
Our Country`s Good
Jean Baudrillard
Simulacrum
Simulation
History
Theatre
Sign
Image日期 2020 上傳時間 2-九月-2020 11:34:21 (UTC+8) 摘要 本論文旨在運用尚．布希亞之擬仿物以及擬像理論，探討渥坦貝克的劇本《吾國吾民》裡劇場中之擬像。以殖民地之史實以及原著小說《造戲者》為根據，渥坦貝克將事實與虛構、歷史與故事交織在《吾國吾民》劇場中。在拷貝與複製的世代裡，歷史在不斷地重新書寫的過程中，已不再是起源，而是循環再生。歷史的軌跡被現今所懷舊追溯，進而被擬仿，成為在影視/劇場裡所呈現的符號和意象。在歷史跟虛構之間模糊的界線之中，超現實取代歷史成為事實，劇場進而成為一個擬仿物。因此，渥坦貝克的翻譯或是改編，無論是小說改編為劇本，亦或者是從語言系統嚴謹的書寫轉譯成無邊無際的符號意象，都被視為是改寫的一種形式，並且為歷史注入活力以及自主。本論文探求擬像於《吾國吾民》中之形構過程。在劇中，為了正統化威權統治，掌握權威的軍官們設立劇場。另一方面，囚犯們透過演戲與變裝，掌握了所扮演的角色中的符號與意象，進而建立起擬仿世界中之劇場，削弱威權勢力。擬像透過操控符號，以提供更多元的歷史詮釋。透過重新書寫以及擬仿，渥坦貝克從後現代的角度重新檢視歷史，並賦予其新的定義。
This thesis aims at exploring simulation in the theatre in Timberlake Wertenbaker’s Our Country’s Good with Jean Baudrillard’s theory of simulacrum and simulation. Writing the play based on the colonial history and the original fiction The Playmaker, Wertenbaker interweaves the fact and fiction, history and story into the theatre. In the age of copying and reduplicating, history is circulated rather than originate in the process of indefinitely rewriting. The track of history is retrospective and further simulated in the cinema/theatre with signs and images.Therefore, Wertenbaker’s translation or adaptation, from fiction to theatre, from the written language in fixed system to the boundlessness of signs, is the form of rewriting, inserting dynamic and autonomy into history.This thesis will probe into the processes of simulation in Our Country’s Good.The theatre becomes the officers’ political strategy to legitimize their orthodox of theauthority. On the other hand, the convicts’ manipulation of the signs and images of their roles by acting and cross-dressing creates a theatre of simulacrum to undermine the power. Simulation, with the absence of the origin, provides history with multiplicity of decipherments by manipulating signs. By rewriting and simulating history, Wertenbaker reexamines history in the postmodern discourse and endows the new definition to history.參考文獻 Abdal, Göksenin. “A Look into Authority and Obedience in Timberlake Wertenbaker’s Play Our Country’s Good.” The Journal of International Social Research, vol.10, no.48, 2017.Baudrillard, Jean. Forget Foucault. Trans. N. Dufresne. Semiotext(e), 2007.---. “The Precession of Simulacra.” Simulacra and Simulation. Trans. Sheila Glaser. The U of Michigan P, 1994, pp. 1-42.---. “History: A Retro Scenario.” Simulacra and Simulation. Trans. Sheila Glaser. The U of Michigan P, 1994, pp. 43-48.---. “The Beaubourg Effect: Implosion and Deterrence.” Simulacra and Simulation. Trans. Sheila Glaser. The U of Michigan P, 1994, pp. 61-73.---. Seduction. Trans. Brian Singer. New World Perspectives, 1990.---. Symbolic Exchange and Death. Sage, 1993.---. “The Evil Demon of Images and the Precession of Simulacra.” Postmodernism: A Reader. Edited by T. Doherty. Columbia UP, 1993, pp. 194-99.---. The Mirror of Production. Trans. M. Poster. Telos Press, 1975.---. The System of Objects. Trans. James Benedict. Verso, 1996.Benjamin, Walter. “The Task of the Translator.”Illuminations. Edited and with an Introduction by Hannah Arendt. Translated by Harry Zohn. Schocken Books, 1987, pp. 69-82.Blau, Herbert. “Letting Be Be Finale of Seem: The Future of an Illusion.” Performance in Postmodern Culture. Edited by Michel Benamou And Charles Caramello. U of Wisconsin, 1977, pp. 59-78.---. The Eye of Prey: Subversions of the Postmodern. Indiana UP, 1987.Bligh, Kate. “Oppositional Symmetries: An Anthropological Voyage through Our Country’s Good & The Poetics.” International Dramaturgy: Translation and Transformations in the Theatre of Timberlake Wertenbaker. Ed. Maya E. Roth and Sara Freeman. Peter Lang, 2008, pp. 177-93.Bush, Sophie. The Theatre of Timberlake Wertenbaker. A&C Black, 2013.Carlson, Marvin. The Haunted Stage: The Theatre as Memory Machine. U of Michigan P, 2003.DiGaetani, John L. “Timberlake Wertenbaker.” A Search for a Postmodern Theater: Interviews with Contemporary Playwrights. Greenwood, 1991, pp. 265-73.Doane, Mary Ann. “Film and the Masquerade: Theorizing the Female Spectator.” The Feminism and Visual Culture Reader. Edited by Amelia Jones. Psychology Press, 2003, pp.60-71.Elam, Keir. The Semiotics of Theatre and Drama. Psychology Press, 2002.Gentzler, Edwin. Translation and Rewriting in the Age of Post-translation Studies. Taylor & Francis, 2016.Jameson, Fredric. Postmodernism, or the Cultural Logic of Late Capitalism. Duke UP, 1991.Lawlor, L. “Simulacrum.” The Edinburgh Dictionary of Continental Philosophy. Edited by John Protevi. Edinburgh UP, 2005, pp. 539-41.Lechte, John. “Imaginary.” The Baudrillard Dictionary. Edited by Richard G. Smith, Edinburgh UP, 2010, pp.103-5.Lorenz, Liza. “An Interview with Timberlake Wertenbaker.” Ford’s Theatre, 13 Nov 2017, www.fords.org/blog/post/an-interview-with-playwright-timberlake-wertenbaker. Accessed 29 October 2019.Mulvey, Laura. “Afterthoughts on ‘Visual Pleasure and Narrative Cinema’ Inspired by King Vidor’s Duel in the Sun.” Feminism and Film Theory. Edited by Constance Penley. Routledge, 2013, pp. 69-79.“Original.” Oxford English Dictionary, www.oed.com.autorpa.lib.nccu.edu.tw/ view/Entry/132564?redirectedFrom=original%27#eid. Accessed 15 October 2019.Rabillard, Sheila. “Translating the Past: Theatrical and Historical Repetition in Wertenbaker’s The Break of Day.” International Dramaturgy: Translation and Transformations in the Theatre of Timberlake Wertenbaker. Edited by Maya E. Roth and Sara Freeman. Peter Lang, 2008, pp. 135-53.“Retro.” Oxford English Dictionary, www.oed.com.autorpa.lib. nccu.edu.tw/view/Entry/164477?rskey=dO3zKd&result=4#eid. Accessed 15 May 2020.Robert, Adam. Fredric Jameson. Routledge, 2000.Rokotnitz, Naomi. “From Empathy to Sympathy: Staging Change and Conciliation in Timberlake Wertenbaker’s Our Country’s Good.” Trusting Performance. Palgrave Macmillan, 2011, pp. 67-96.Roth, E. Maya. “Introduction: Wertenbaker and Translations in Theatre.” International Dramaturgy: Translation and Transformations in the Theatre of Timberlake Wertenbaker. Edited by Maya E. Roth and Sara Freeman. Peter Lang, 2008, pp. 11-34.---. “Engaging Cultural Translations: Timberlake Wertenbaker’s History Plays from New Anatomies to After Darwin.” International Dramaturgy: Translation and Transformations in the Theatre of Timberlake Wertenbaker. Edited by Maya E. Roth and Sara Freeman. Peter Lang, 2008, pp. 155-76.Shih, Yi-chin. “Travel and Empire in Wertenbaker`s Our Country`s Good.” CLCWeb: Comparative Literature and Culture, vol.14, no. 5, 2012, Accessed 1 November 2019.Smith, Richard G., ed. The Baudrillard Dictionary. Edinburgh University Press, 2010.“Version.” Oxford English Dictionary, www.oed.com.autorpa.lib.nccu.edu.tw/view/Entry/222734?rskey=00jFn4&result=1&isAdvanced=false#eid. Accessed 15 October 2019.Stafford-Clark, Max. “Directing Our Country’s Good: An Interview with Max Stafford-Clark.” British Library. 7 Sep 2017, www.bl.uk/20th-century-literature/articles/directing-our-countrys-good-an-interview-with-max-stafford-clark. Accessed 28 May 2020.Weeks, Stephen. “The Question of Liz: Staging the Prisoner in Our Country`s Good.” Modern Drama 43.2, 2000, pp. 147-56.Wertenbaker, Timberlake. Our Country`s Good. Methuen Drama, 1991.---. “Dancing with History.” Crucible of Cultures: Anglophone Drama at the Dawn of the New Millennium. Edited by Marc Maufort and Franca Bellarsi. Peter Lang, 2002, pp. 17-23.---. “First Thought on Transforming a Text.” International Dramaturgy: Translation and Transformations in the Theatre of Timberlake Wertenbaker. Edited by Maya E. Roth and Sara Freeman. Peter Lang, 2008, pp. 35-40.Wilson, Ann. “Our Country’s Good: Theatre, Colony and Nation in Wertenbaker’s Adaptation of The Playmaker.” Modern Drama 34, 1991, pp. 23-34. 描述 碩士
國立政治大學
英國語文學系
104551010資料來源 http://thesis.lib.nccu.edu.tw/record/#G0104551010 資料類型 thesis dc.contributor.advisor 楊麗敏 zh_TW dc.contributor.advisor Yang, Lin-Min en_US dc.contributor.author (作者) 吳亭彣 zh_TW dc.contributor.author (作者) Wu, Ting-Wen en_US dc.creator (作者) 吳亭彣 zh_TW dc.creator (作者) Wu, Ting-Wen en_US dc.date (日期) 2020 en_US dc.date.accessioned 2-九月-2020 11:34:21 (UTC+8) - dc.date.available 2-九月-2020 11:34:21 (UTC+8) - dc.date.issued (上傳時間) 2-九月-2020 11:34:21 (UTC+8) - dc.identifier (其他 識別碼) G0104551010 en_US dc.identifier.uri (URI) http://nccur.lib.nccu.edu.tw/handle/140.119/131441 - 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) 104551010 zh_TW dc.description.abstract (摘要) 本論文旨在運用尚．布希亞之擬仿物以及擬像理論，探討渥坦貝克的劇本《吾國吾民》裡劇場中之擬像。以殖民地之史實以及原著小說《造戲者》為根據，渥坦貝克將事實與虛構、歷史與故事交織在《吾國吾民》劇場中。在拷貝與複製的世代裡，歷史在不斷地重新書寫的過程中，已不再是起源，而是循環再生。歷史的軌跡被現今所懷舊追溯，進而被擬仿，成為在影視/劇場裡所呈現的符號和意象。在歷史跟虛構之間模糊的界線之中，超現實取代歷史成為事實，劇場進而成為一個擬仿物。因此，渥坦貝克的翻譯或是改編，無論是小說改編為劇本，亦或者是從語言系統嚴謹的書寫轉譯成無邊無際的符號意象，都被視為是改寫的一種形式，並且為歷史注入活力以及自主。本論文探求擬像於《吾國吾民》中之形構過程。在劇中，為了正統化威權統治，掌握權威的軍官們設立劇場。另一方面，囚犯們透過演戲與變裝，掌握了所扮演的角色中的符號與意象，進而建立起擬仿世界中之劇場，削弱威權勢力。擬像透過操控符號，以提供更多元的歷史詮釋。透過重新書寫以及擬仿，渥坦貝克從後現代的角度重新檢視歷史，並賦予其新的定義。 zh_TW dc.description.abstract (摘要) This thesis aims at exploring simulation in the theatre in Timberlake Wertenbaker’s Our Country’s Good with Jean Baudrillard’s theory of simulacrum and simulation. Writing the play based on the colonial history and the original fiction The Playmaker, Wertenbaker interweaves the fact and fiction, history and story into the theatre. In the age of copying and reduplicating, history is circulated rather than originate in the process of indefinitely rewriting. The track of history is retrospective and further simulated in the cinema/theatre with signs and images.Therefore, Wertenbaker’s translation or adaptation, from fiction to theatre, from the written language in fixed system to the boundlessness of signs, is the form of rewriting, inserting dynamic and autonomy into history.This thesis will probe into the processes of simulation in Our Country’s Good.The theatre becomes the officers’ political strategy to legitimize their orthodox of theauthority. On the other hand, the convicts’ manipulation of the signs and images of their roles by acting and cross-dressing creates a theatre of simulacrum to undermine the power. Simulation, with the absence of the origin, provides history with multiplicity of decipherments by manipulating signs. By rewriting and simulating history, Wertenbaker reexamines history in the postmodern discourse and endows the new definition to history. en_US dc.description.tableofcontents Table of ContentAcknowledgement iiiChinese Abstract viiEnglish Abstract ixChapter One: Introduction 1I. Literature Review 2II. Methodological Approach 6III. Chapter Organization 10IV. Contribution 12Chapter Two: Simulation in the Theatre 15I. Introduction 15II. Simulation of History 16III. Translation, Adaptation or Simulation in the Theatre22Chapter Three: Theatre of the Simulacrum 29I. Introduction 29II. Simulacrum of the Authorities 31III. Simulacrum of the Inferiority 38Chapter Four: Conclusion 53Works Cited 57 zh_TW dc.format.extent 1372698 bytes - dc.format.mimetype application/pdf - dc.source.uri (資料來源) http://thesis.lib.nccu.edu.tw/record/#G0104551010 en_US dc.subject (關鍵詞) 渥坦貝克 zh_TW dc.subject (關鍵詞) 《吾國吾民》 zh_TW dc.subject (關鍵詞) 尚．布希亞 zh_TW dc.subject (關鍵詞) 擬仿物 zh_TW dc.subject (關鍵詞) 擬像 zh_TW dc.subject (關鍵詞) 歷史 zh_TW dc.subject (關鍵詞) 劇場 zh_TW dc.subject (關鍵詞) 符號 zh_TW dc.subject (關鍵詞) 意象 zh_TW dc.subject (關鍵詞) Timberlake Wertenbaker en_US dc.subject (關鍵詞) Our Country`s Good en_US dc.subject (關鍵詞) Jean Baudrillard en_US dc.subject (關鍵詞) Simulacrum en_US dc.subject (關鍵詞) Simulation en_US dc.subject (關鍵詞) History en_US dc.subject (關鍵詞) Theatre en_US dc.subject (關鍵詞) Sign en_US dc.subject (關鍵詞) Image en_US dc.title (題名) 打造渥坦貝克《吾國吾民》中之擬像世界 zh_TW dc.title (題名) Building A Simulacrum in Timberlake Wertenbaker’s Our Country’s Good en_US dc.type (資料類型) thesis en_US dc.relation.reference (參考文獻) Abdal, Göksenin. “A Look into Authority and Obedience in Timberlake Wertenbaker’s Play Our Country’s Good.” The Journal of International Social Research, vol.10, no.48, 2017.Baudrillard, Jean. Forget Foucault. Trans. N. Dufresne. Semiotext(e), 2007.---. “The Precession of Simulacra.” Simulacra and Simulation. Trans. Sheila Glaser. The U of Michigan P, 1994, pp. 1-42.---. “History: A Retro Scenario.” Simulacra and Simulation. Trans. Sheila Glaser. The U of Michigan P, 1994, pp. 43-48.---. “The Beaubourg Effect: Implosion and Deterrence.” Simulacra and Simulation. Trans. Sheila Glaser. The U of Michigan P, 1994, pp. 61-73.---. Seduction. Trans. Brian Singer. New World Perspectives, 1990.---. Symbolic Exchange and Death. Sage, 1993.---. “The Evil Demon of Images and the Precession of Simulacra.” Postmodernism: A Reader. Edited by T. Doherty. Columbia UP, 1993, pp. 194-99.---. The Mirror of Production. Trans. M. Poster. Telos Press, 1975.---. The System of Objects. Trans. James Benedict. Verso, 1996.Benjamin, Walter. “The Task of the Translator.”Illuminations. Edited and with an Introduction by Hannah Arendt. Translated by Harry Zohn. Schocken Books, 1987, pp. 69-82.Blau, Herbert. “Letting Be Be Finale of Seem: The Future of an Illusion.” Performance in Postmodern Culture. Edited by Michel Benamou And Charles Caramello. U of Wisconsin, 1977, pp. 59-78.---. The Eye of Prey: Subversions of the Postmodern. Indiana UP, 1987.Bligh, Kate. “Oppositional Symmetries: An Anthropological Voyage through Our Country’s Good & The Poetics.” International Dramaturgy: Translation and Transformations in the Theatre of Timberlake Wertenbaker. Ed. Maya E. Roth and Sara Freeman. Peter Lang, 2008, pp. 177-93.Bush, Sophie. The Theatre of Timberlake Wertenbaker. A&C Black, 2013.Carlson, Marvin. The Haunted Stage: The Theatre as Memory Machine. U of Michigan P, 2003.DiGaetani, John L. “Timberlake Wertenbaker.” A Search for a Postmodern Theater: Interviews with Contemporary Playwrights. Greenwood, 1991, pp. 265-73.Doane, Mary Ann. “Film and the Masquerade: Theorizing the Female Spectator.” The Feminism and Visual Culture Reader. Edited by Amelia Jones. Psychology Press, 2003, pp.60-71.Elam, Keir. The Semiotics of Theatre and Drama. Psychology Press, 2002.Gentzler, Edwin. Translation and Rewriting in the Age of Post-translation Studies. Taylor & Francis, 2016.Jameson, Fredric. Postmodernism, or the Cultural Logic of Late Capitalism. Duke UP, 1991.Lawlor, L. “Simulacrum.” The Edinburgh Dictionary of Continental Philosophy. Edited by John Protevi. Edinburgh UP, 2005, pp. 539-41.Lechte, John. “Imaginary.” The Baudrillard Dictionary. Edited by Richard G. Smith, Edinburgh UP, 2010, pp.103-5.Lorenz, Liza. “An Interview with Timberlake Wertenbaker.” Ford’s Theatre, 13 Nov 2017, www.fords.org/blog/post/an-interview-with-playwright-timberlake-wertenbaker. Accessed 29 October 2019.Mulvey, Laura. “Afterthoughts on ‘Visual Pleasure and Narrative Cinema’ Inspired by King Vidor’s Duel in the Sun.” Feminism and Film Theory. Edited by Constance Penley. Routledge, 2013, pp. 69-79.“Original.” Oxford English Dictionary, www.oed.com.autorpa.lib.nccu.edu.tw/ view/Entry/132564?redirectedFrom=original%27#eid. Accessed 15 October 2019.Rabillard, Sheila. “Translating the Past: Theatrical and Historical Repetition in Wertenbaker’s The Break of Day.” International Dramaturgy: Translation and Transformations in the Theatre of Timberlake Wertenbaker. Edited by Maya E. Roth and Sara Freeman. Peter Lang, 2008, pp. 135-53.“Retro.” Oxford English Dictionary, www.oed.com.autorpa.lib. nccu.edu.tw/view/Entry/164477?rskey=dO3zKd&result=4#eid. Accessed 15 May 2020.Robert, Adam. Fredric Jameson. Routledge, 2000.Rokotnitz, Naomi. “From Empathy to Sympathy: Staging Change and Conciliation in Timberlake Wertenbaker’s Our Country’s Good.” Trusting Performance. Palgrave Macmillan, 2011, pp. 67-96.Roth, E. Maya. “Introduction: Wertenbaker and Translations in Theatre.” International Dramaturgy: Translation and Transformations in the Theatre of Timberlake Wertenbaker. Edited by Maya E. Roth and Sara Freeman. Peter Lang, 2008, pp. 11-34.---. “Engaging Cultural Translations: Timberlake Wertenbaker’s History Plays from New Anatomies to After Darwin.” International Dramaturgy: Translation and Transformations in the Theatre of Timberlake Wertenbaker. Edited by Maya E. Roth and Sara Freeman. Peter Lang, 2008, pp. 155-76.Shih, Yi-chin. “Travel and Empire in Wertenbaker`s Our Country`s Good.” CLCWeb: Comparative Literature and Culture, vol.14, no. 5, 2012, Accessed 1 November 2019.Smith, Richard G., ed. The Baudrillard Dictionary. Edinburgh University Press, 2010.“Version.” Oxford English Dictionary, www.oed.com.autorpa.lib.nccu.edu.tw/view/Entry/222734?rskey=00jFn4&result=1&isAdvanced=false#eid. Accessed 15 October 2019.Stafford-Clark, Max. “Directing Our Country’s Good: An Interview with Max Stafford-Clark.” British Library. 7 Sep 2017, www.bl.uk/20th-century-literature/articles/directing-our-countrys-good-an-interview-with-max-stafford-clark. Accessed 28 May 2020.Weeks, Stephen. “The Question of Liz: Staging the Prisoner in Our Country`s Good.” Modern Drama 43.2, 2000, pp. 147-56.Wertenbaker, Timberlake. Our Country`s Good. Methuen Drama, 1991.---. “Dancing with History.” Crucible of Cultures: Anglophone Drama at the Dawn of the New Millennium. Edited by Marc Maufort and Franca Bellarsi. Peter Lang, 2002, pp. 17-23.---. “First Thought on Transforming a Text.” International Dramaturgy: Translation and Transformations in the Theatre of Timberlake Wertenbaker. Edited by Maya E. Roth and Sara Freeman. Peter Lang, 2008, pp. 35-40.Wilson, Ann. “Our Country’s Good: Theatre, Colony and Nation in Wertenbaker’s Adaptation of The Playmaker.” Modern Drama 34, 1991, pp. 23-34. zh_TW dc.identifier.doi (DOI) 10.6814/NCCU202001205 en_US
