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題名 「庸才的守護神！」：彼得·謝弗《阿瑪迪斯》中 薩里耶里的自我認識
“Patron Saint of Mediocrities!”：Reading Salieri’s Self-Recognition in Peter Shaffer’s Amadeus
作者 陳奎含
Chen, Kuei-Han
貢獻者 姜翠芬
Jiang, Tsui-Fen
陳奎含
Chen, Kuei-Han
關鍵詞 《阿瑪迪斯》
心理分析
自我認同
自我欺騙式的認同
自我接受
Amadeus
psychoanalysis
self-identification
self-deceptive identification
self-recognition
日期 2021
上傳時間 1-Feb-2021 13:57:15 (UTC+8)
摘要 於西元一九七九年，彼得·謝弗出版其劇作《阿瑪迪斯》。本劇是由一則關於音樂家沃夫岡·阿瑪迪斯·莫札特與同為音樂家的安東尼奧·薩里耶里流傳的故事改編而成。本劇描述薩里耶里以向上帝宣戰為由持續地暗中迫害莫札特。對莫札特的愛與恨促使薩里耶里的自我認同受到龐大的改變。本論文以心理分析之角度檢視薩里耶里的自我認同與其變化。經歷了鏡像階段、無大他者的階段、莫札特（大他者之提示）的出現、莫札特之死、至最後的自我起名為「庸才的守護神」，薩里耶里的自我認同由父母的投射轉換成成自我欺騙式的認同，最後結束於無奈的自我接受。
Written in 1979, Peter Shaffer’s Amadeus reintroduces the old tale of the two musicians — Wolfgang Amadeus Mozart and Antonio Salieri. This play depicts the battles Salieri has with God by destroying Mozart. Being the only person who can recognize Mozart’s celestial music and being threatened by Mozart, Salieri faces the tremendous transformations of his self-identification; eventually, he addresses himself as “Patron Saint of Mediocrities.”
This thesis, treating Amadeus from the Lacanian lens, points out that Salieri’s self-identification has gone through certain times of transformations. Having his first self-identification in the Mirror Stage, experiencing the Other-less period of time, having Mozart (the reminder of his Other) appear in his life, losing Mozart, and finally recognizing himself as a mediocre, Salieri re-identifies himself throughout his lifetime. I argue that Salieri’s self-identification has changed from the reflection of his parents to self-deceptive identification, and finally, to a helpless self-recognition of his mediocrity.
參考文獻 Aschkenasy, Nehama. “The Biblical Intertext in Peter Shafer’s Amadeus (Or, Saul and David
in Eighteenth-Century Vienna).” Comparative Drama, vol. 44, no. 1, Spring 2010,
pp. 45-62. EBSCOhost, doi:10.1353/cdr.0.0092. Accessed 27 November 2019.

Berman, Jeffrey. “The Search for the Father in Amadeus.” Psychoanalytic Review, vol. 74,
no. 4, Jan. 1987, pp. 561-578, search.proquest.com/docview/77941339/. Accessed 27
November 2019.

Bidney, Martin. “Thinking About God and Mozart: The Salieris of Puškin and Peter
Shaffer.” The Slavic and East European Journal, vol. 30, no. 2, American Association
of Teachers of Slavic and East European Languages, 1986, pp. 183-195. JSTOR,
www.jstor.org/stable/307595. Accessed 27 November 2019.

Brustein, Robert. “The Triumph of Mediocrity.” The New Republic (pre-1988), vol. 184, no.
3, Jan 17, 1981, pp. 23-26. ProQuest, search.proquest.com/docview/198742669/.
Accessed 17 April 2020.

Fink, Bruce. “Lacanian Clinical Practice.” Psychoanalytic Review, vol. 92, no. 4, 2005,
pp. 553-79. ProQuest, doi:10.1521/prev.2005.92.4.553. Accessed 27 November 2019.

Gallop, Jane. “Lacan’s ‘Mirror Stage’: Where to Begin.” SubStance, vol. 11/12, vol. 11, no.4
– vol. 12, no.1, issue 37-38: A Special Issue from the Center for Twentieth Century
Studies (1982/1983), pp. 118-128. JSTOR,
www.jstor.org/stable/3684185. Accessed 13 May 2020.

Gianakaris, C. J. “A Playwright Looks at Mozart: Peter Shaffer’s Amadeus.” Comparative
Drama, vol. 15, no. 1, 1981, pp. 37-53. doi:10.1353/cdr.1981.0003. Accessed 17 April
2020.

Glenn, Jules. “Anthony and Peter Shaffer`s Plays: The Influence of Twinship on Creativity.” American Imago, vol. 31, no. 3, 1974, pp. 270-292. JSTOR.
www.jstor.org/stable/26303061. Accessed 17 April 2020.

Hamilton, James W. “Peter Shaffer’s Amadeus as a Further Expression of Twinship
Conflict.” The American Journal of Psychoanalysis, vol. 55, no. 3, 1995,
doi:10.1007/BF02741973. Acessed 13 February 2020.

Harsono, Ivonne Muliawati. “Mediocrity Madness: The Destructive Effects of Antonio
Salieri’s Narcissistic Personality Disorder in Amadeus.” K@ta: A Biannual Publication
on the Study of Language and Literature, vol. 19, no. 2, Jan. 2017, pp. 71-76.
doi:10.9744/kata.19.2.71-76. Accessed 27 November 2019.

Hendrix, John Shannon. “Unconscious Thought in Lacan.” Unconscious Thought in
Philosophy and Psychoanalysis. Palgrave Macmillan, 2015, pp.261-296.
doi:10.1057/9781137538130_9. Accessed 17 April 2020.

Holohan, Kevin J. “Identification, Language, and Subjectivity: Reading Freire
through/against Lacan.” Curriculum Inquiry, vol. 47, no. 5, pp. 446-464.
doi: 10.1080/03626784.2017.1396873. Accessed 18 April 2020.

Horowitz, Joseph. “Mozart as Midcult: Mass Snob Appeal.” The Musical Quarterly, vol. 76,
no. 1, 1992, pp. 1-16. JSTOR, www.jstor.org/stable/741911. Accessed 27 November
2019.

Jones, Daniel R. “Peter Shaffer’s Continued Quest for God in ‘Amadeus.’” Comparative
Drama, vol. 21, no. 2, 1987, pp. 145-155. JSTOR, www.jstor.org/stable/41153275.
Accessed 27 Nov. 2019.

Keefe, Simon P. “Beyond Fact and Fiction, Scholarly and Popular: Peter Shaffer and
Miloš Forman’s ‘Amadeus’ at 25.” The Musical Times, vol. 150, no. 1906, 2009,
pp. 45-53. JSTOR, www.jstor.org/stable/25597601. Accessed 27 Nov. 2019.

Lacan, Jacques. Écrits: A selection. Translated by Alan Sheridan. Taylor and Francis e-Library, 2005.

Marshall, Robert L. “Film as Musicology: ‘Amadeus.’” The Musical Quarterly, vol. 81,
no. 2, 1997, pp. 173-179. JSTOR, www.jstor.org/stable/742458. Accessed 13
February 2020.

Mocarelli, Luca. “Manufacturing Activity in Venetian Lombardy: Specialised Products and
the Formation of a Regional Market (17th -18th Century).”At the Center of the Old
World: Trade and Manufacturing in Venice and the Venetian Mainland (1400-1800),
edited by Paola Lanaro, CRRS Publications, 2006, pp. 317-342.

Neill, Calum. Lacanian Ethics and the Assumption of Subjectivity. Palgrave Macmillan, 2011,
pp. 15-55. doi:10.1057/9780230305038_3. Accessed 17 April 2020.

Schweizer, Bernard. “Absolute Misotheism II: Perverse Worshippers, Divine Avatars, and
Peter Shaffer’s Attacks Against God.” Hating God: The Untold Story of Misotheism.
Oxford UP, January 01, 2011, pp.174-92. Oxford Scholarship Online,
doi:10.1093/acprof:oso/9780199751389.003.0006. Accessed 13 February 2020.

Shaffer, Peter. Amadeus. Harper Collins Publishers, 2001.

Sullivan, William J. “Peter Shaffer’s ‘Amadeus’: The Making and Un-Making of the
Fathers.” American Imago, vol. 45, no. 1, 1988, pp. 45-60. JSTOR,
www.jstor.org/stable/26303957. Accessed 13 February 2020.

Sultan, Sabbar S. “Shaffer’s Amadeus: A Dramatic Re-writing of History.” Economics,
Management, and Financial Markets, vol. 6, no. 2, 2011, pp. 586-602. ProQuest,
search-proquest-com.autorpa.lib.nccu.edu.tw/docview/884338961?accountid=10067.
Accessed 27 November 2019.

Pushkin, Alexander. “Mozart and Salieri.” Translated by G M Lee. Music & Letters, vol. 38,
no. 4, 1957, pp. 315–319.

Wiseman, Boris. Introduction. Levi-Strauss, Anthropology, and Aesthetics. Cambridge UP,2007, pp. 1-32. doi:10.1017/CBO9780511585883. Accessed 17 April 2020.
描述 碩士
國立政治大學
英國語文學系
106551004
資料來源 http://thesis.lib.nccu.edu.tw/record/#G0106551004
資料類型 thesis
dc.contributor.advisor 姜翠芬zh_TW
dc.contributor.advisor Jiang, Tsui-Fenen_US
dc.contributor.author (Authors) 陳奎含zh_TW
dc.contributor.author (Authors) Chen, Kuei-Hanen_US
dc.creator (作者) 陳奎含zh_TW
dc.creator (作者) Chen, Kuei-Hanen_US
dc.date (日期) 2021en_US
dc.date.accessioned 1-Feb-2021 13:57:15 (UTC+8)-
dc.date.available 1-Feb-2021 13:57:15 (UTC+8)-
dc.date.issued (上傳時間) 1-Feb-2021 13:57:15 (UTC+8)-
dc.identifier (Other Identifiers) G0106551004en_US
dc.identifier.uri (URI) http://nccur.lib.nccu.edu.tw/handle/140.119/133834-
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) 106551004zh_TW
dc.description.abstract (摘要) 於西元一九七九年，彼得·謝弗出版其劇作《阿瑪迪斯》。本劇是由一則關於音樂家沃夫岡·阿瑪迪斯·莫札特與同為音樂家的安東尼奧·薩里耶里流傳的故事改編而成。本劇描述薩里耶里以向上帝宣戰為由持續地暗中迫害莫札特。對莫札特的愛與恨促使薩里耶里的自我認同受到龐大的改變。本論文以心理分析之角度檢視薩里耶里的自我認同與其變化。經歷了鏡像階段、無大他者的階段、莫札特（大他者之提示）的出現、莫札特之死、至最後的自我起名為「庸才的守護神」，薩里耶里的自我認同由父母的投射轉換成成自我欺騙式的認同，最後結束於無奈的自我接受。zh_TW
dc.description.abstract (摘要) Written in 1979, Peter Shaffer’s Amadeus reintroduces the old tale of the two musicians — Wolfgang Amadeus Mozart and Antonio Salieri. This play depicts the battles Salieri has with God by destroying Mozart. Being the only person who can recognize Mozart’s celestial music and being threatened by Mozart, Salieri faces the tremendous transformations of his self-identification; eventually, he addresses himself as “Patron Saint of Mediocrities.”
This thesis, treating Amadeus from the Lacanian lens, points out that Salieri’s self-identification has gone through certain times of transformations. Having his first self-identification in the Mirror Stage, experiencing the Other-less period of time, having Mozart (the reminder of his Other) appear in his life, losing Mozart, and finally recognizing himself as a mediocre, Salieri re-identifies himself throughout his lifetime. I argue that Salieri’s self-identification has changed from the reflection of his parents to self-deceptive identification, and finally, to a helpless self-recognition of his mediocrity.		en_US
dc.description.tableofcontents Chinese Abstract vii
English Abstract ix
Chapter One: Introduction 1
1 Introduction 1
2 Literature Review 2
3 Contribution 6
4 Argument 8
5 Theoretical Framework 8
6 Chapter Layout 12
Chapter Two: The Mirror Stage, Childhood, Court Composer 15
1 The Mirror Stage: The First Identification 16
2 Childhood: The First Self-Identification 16
2.1 The Importance 17
2.1.1 Father: Merchant 18
2.1.2 Locations: Lombardy and Legnago 19
2.1.3 Mediocrity 20
3 Court Composer 21
3.1 The-Other-less 22
3.1.1 Power 22
3.2 A Good Man, the Chosen One 24
3.3 The Unconscious Self-Deceptive Identification 25
Chapter Three: The Other, Living Mozart, Departing/Departed Mozart 27
1 The Other 28
1.1 Language 28
1.1.1 Music 29
1.2 Mozart: The Reminder of Salieri’s Other 31
2 Living Mozart: The Shaken Identification 32
2.1 The Shaken Self-Identification and the Other 32
2.2 Apollonian and Dionysian Contradiction 33
2.3 The Conscious Self-Deceptive Identification 35
3 Departing/Departed Mozart: The Final Self-Identification 36
3.1 Departing Mozart: The End of Self-Deceptive Identification 36
3.1.1 A Confession to the Audience 37
3.1.2 A Confession to Mozart 38
3.2 Departed Mozart: Self-Recognition 38
Chapter Four: Conclusion 41
Works Cited 45		zh_TW
dc.format.extent 464330 bytes-
dc.format.mimetype application/pdf-
dc.source.uri (資料來源) http://thesis.lib.nccu.edu.tw/record/#G0106551004en_US
dc.subject (關鍵詞) 《阿瑪迪斯》zh_TW
dc.subject (關鍵詞) 心理分析zh_TW
dc.subject (關鍵詞) 自我認同zh_TW
dc.subject (關鍵詞) 自我欺騙式的認同zh_TW
dc.subject (關鍵詞) 自我接受zh_TW
dc.subject (關鍵詞) Amadeusen_US
dc.subject (關鍵詞) psychoanalysisen_US
dc.subject (關鍵詞) self-identificationen_US
dc.subject (關鍵詞) self-deceptive identificationen_US
dc.subject (關鍵詞) self-recognitionen_US
dc.title (題名) 「庸才的守護神！」：彼得·謝弗《阿瑪迪斯》中 薩里耶里的自我認識zh_TW
dc.title (題名) “Patron Saint of Mediocrities!”：Reading Salieri’s Self-Recognition in Peter Shaffer’s Amadeusen_US
dc.type (資料類型) thesisen_US
dc.relation.reference (參考文獻) Aschkenasy, Nehama. “The Biblical Intertext in Peter Shafer’s Amadeus (Or, Saul and David
in Eighteenth-Century Vienna).” Comparative Drama, vol. 44, no. 1, Spring 2010,
pp. 45-62. EBSCOhost, doi:10.1353/cdr.0.0092. Accessed 27 November 2019.

Berman, Jeffrey. “The Search for the Father in Amadeus.” Psychoanalytic Review, vol. 74,
no. 4, Jan. 1987, pp. 561-578, search.proquest.com/docview/77941339/. Accessed 27
November 2019.

Bidney, Martin. “Thinking About God and Mozart: The Salieris of Puškin and Peter
Shaffer.” The Slavic and East European Journal, vol. 30, no. 2, American Association
of Teachers of Slavic and East European Languages, 1986, pp. 183-195. JSTOR,
www.jstor.org/stable/307595. Accessed 27 November 2019.

Brustein, Robert. “The Triumph of Mediocrity.” The New Republic (pre-1988), vol. 184, no.
3, Jan 17, 1981, pp. 23-26. ProQuest, search.proquest.com/docview/198742669/.
Accessed 17 April 2020.

Fink, Bruce. “Lacanian Clinical Practice.” Psychoanalytic Review, vol. 92, no. 4, 2005,
pp. 553-79. ProQuest, doi:10.1521/prev.2005.92.4.553. Accessed 27 November 2019.

Gallop, Jane. “Lacan’s ‘Mirror Stage’: Where to Begin.” SubStance, vol. 11/12, vol. 11, no.4
– vol. 12, no.1, issue 37-38: A Special Issue from the Center for Twentieth Century
Studies (1982/1983), pp. 118-128. JSTOR,
www.jstor.org/stable/3684185. Accessed 13 May 2020.

Gianakaris, C. J. “A Playwright Looks at Mozart: Peter Shaffer’s Amadeus.” Comparative
Drama, vol. 15, no. 1, 1981, pp. 37-53. doi:10.1353/cdr.1981.0003. Accessed 17 April
2020.

Glenn, Jules. “Anthony and Peter Shaffer`s Plays: The Influence of Twinship on Creativity.” American Imago, vol. 31, no. 3, 1974, pp. 270-292. JSTOR.
www.jstor.org/stable/26303061. Accessed 17 April 2020.

Hamilton, James W. “Peter Shaffer’s Amadeus as a Further Expression of Twinship
Conflict.” The American Journal of Psychoanalysis, vol. 55, no. 3, 1995,
doi:10.1007/BF02741973. Acessed 13 February 2020.

Harsono, Ivonne Muliawati. “Mediocrity Madness: The Destructive Effects of Antonio
Salieri’s Narcissistic Personality Disorder in Amadeus.” K@ta: A Biannual Publication
on the Study of Language and Literature, vol. 19, no. 2, Jan. 2017, pp. 71-76.
doi:10.9744/kata.19.2.71-76. Accessed 27 November 2019.

Hendrix, John Shannon. “Unconscious Thought in Lacan.” Unconscious Thought in
Philosophy and Psychoanalysis. Palgrave Macmillan, 2015, pp.261-296.
doi:10.1057/9781137538130_9. Accessed 17 April 2020.

Holohan, Kevin J. “Identification, Language, and Subjectivity: Reading Freire
through/against Lacan.” Curriculum Inquiry, vol. 47, no. 5, pp. 446-464.
doi: 10.1080/03626784.2017.1396873. Accessed 18 April 2020.

Horowitz, Joseph. “Mozart as Midcult: Mass Snob Appeal.” The Musical Quarterly, vol. 76,
no. 1, 1992, pp. 1-16. JSTOR, www.jstor.org/stable/741911. Accessed 27 November
2019.

Jones, Daniel R. “Peter Shaffer’s Continued Quest for God in ‘Amadeus.’” Comparative
Drama, vol. 21, no. 2, 1987, pp. 145-155. JSTOR, www.jstor.org/stable/41153275.
Accessed 27 Nov. 2019.

Keefe, Simon P. “Beyond Fact and Fiction, Scholarly and Popular: Peter Shaffer and
Miloš Forman’s ‘Amadeus’ at 25.” The Musical Times, vol. 150, no. 1906, 2009,
pp. 45-53. JSTOR, www.jstor.org/stable/25597601. Accessed 27 Nov. 2019.

Lacan, Jacques. Écrits: A selection. Translated by Alan Sheridan. Taylor and Francis e-Library, 2005.

Marshall, Robert L. “Film as Musicology: ‘Amadeus.’” The Musical Quarterly, vol. 81,
no. 2, 1997, pp. 173-179. JSTOR, www.jstor.org/stable/742458. Accessed 13
February 2020.

Mocarelli, Luca. “Manufacturing Activity in Venetian Lombardy: Specialised Products and
the Formation of a Regional Market (17th -18th Century).”At the Center of the Old
World: Trade and Manufacturing in Venice and the Venetian Mainland (1400-1800),
edited by Paola Lanaro, CRRS Publications, 2006, pp. 317-342.

Neill, Calum. Lacanian Ethics and the Assumption of Subjectivity. Palgrave Macmillan, 2011,
pp. 15-55. doi:10.1057/9780230305038_3. Accessed 17 April 2020.

Schweizer, Bernard. “Absolute Misotheism II: Perverse Worshippers, Divine Avatars, and
Peter Shaffer’s Attacks Against God.” Hating God: The Untold Story of Misotheism.
Oxford UP, January 01, 2011, pp.174-92. Oxford Scholarship Online,
doi:10.1093/acprof:oso/9780199751389.003.0006. Accessed 13 February 2020.

Shaffer, Peter. Amadeus. Harper Collins Publishers, 2001.

Sullivan, William J. “Peter Shaffer’s ‘Amadeus’: The Making and Un-Making of the
Fathers.” American Imago, vol. 45, no. 1, 1988, pp. 45-60. JSTOR,
www.jstor.org/stable/26303957. Accessed 13 February 2020.

Sultan, Sabbar S. “Shaffer’s Amadeus: A Dramatic Re-writing of History.” Economics,
Management, and Financial Markets, vol. 6, no. 2, 2011, pp. 586-602. ProQuest,
search-proquest-com.autorpa.lib.nccu.edu.tw/docview/884338961?accountid=10067.
Accessed 27 November 2019.

Pushkin, Alexander. “Mozart and Salieri.” Translated by G M Lee. Music & Letters, vol. 38,
no. 4, 1957, pp. 315–319.

Wiseman, Boris. Introduction. Levi-Strauss, Anthropology, and Aesthetics. Cambridge UP,2007, pp. 1-32. doi:10.1017/CBO9780511585883. Accessed 17 April 2020.		zh_TW
dc.identifier.doi (DOI) 10.6814/NCCU202100090en_US