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| Title | 殘酷劇場中的戲劇詩：莎拉肯恩《4.48精神異常》之研究 The dramatic poetry in the theatre of cruelty: a study of Sarah Kane’s 4.48 psychosis |
| Creator | 黃韻如 Huang, Yun Ju |
| Contributor | 姜翠芬 Jiang, Tsui Fen 黃韻如 Huang, Yun Ju |
| Key Words | 暴力 《4.48精神異常》 莎拉．肯恩 亞陶 殘酷劇場 violence 4.48 Psychosis Sarah Kane Antonin Artaud Theatre of Cruelty |
| Date | 2010 |
| Date Issued | 5-Oct-2011 14:25:17 (UTC+8) |
| Summary | 莎拉肯恩《4.48精神異常》以破曉時分為題，描寫一名憂鬱成疾的女性於凌晨甦醒並決定以自殺終結生命的關鍵時刻。劇中呈現精神病患者承受心理治療之苦與面對社會正常化(social normalization)的暴力過程。肯恩早期的劇作強調具體暴力之呈現，有別於此，本劇大量使用影像，並以不連續的片段，文本化(textualize)社會的暴力壓迫。根據亞陶的殘酷劇場(Theatre of Cruelty)，片段式語言搭配影像的使用，能有效幫助個體表達難以言喻之想法與被壓抑之情感。本論文旨在借用亞氏語言觀探討肯恩《4.48精神異常》中詩意語言的使用。肯恩以片段式結構(fragmentary structure)取代角色與情節，傳達精神病患者不見容於社會的破碎思緒，並在病患的語言中採用拼貼式影像(collaged images)，企圖以視覺意象呈現其殘破不堪的心理狀態。本論文分成四章，分析《4.48精神異常》中的語言，將其視為肯恩對社會正常化所展現最終極抗議。首章說明肯恩生平、本劇簡介與評論及本論文理論架構。次章分析本劇的片段式結構，研究肯恩如何使用片段式的詩意文字描繪病人的孤立無援與自相矛盾等心理不適現象。第三章檢視本劇中視覺化(visual)與文字化(textual)的影像，其主要功能為幫助病人表述自我內心痛苦與對社會的控訴。論文末章總結指出亞氏觀點能幫助讀者解讀肯恩暴力劇場中的詩意語言。 Titled with a crucial moment when a depressed woman awakes before dawn and decides to commit suicide, Sarah Kane’s 4.48 Psychosis presents the violent process of a psychotic patient suffering from psychiatric therapy and social normalization. Unlike Kane’s early plays that emphasize the presentation of physical violence, this play is characterized by an excessive use of images and is composed of discontinuous fragments that textualize the violent oppression from society. From Artaud’s theory of Theatre of Cruelty, the use of fragmentary language with images helps to convey one’s inexplicable thoughts and suppressed emotions. Artaud’s view on language sheds new light on the interpretation of Kane’s poetic language in 4.48 Psychosis. Without an explicit indication of characters and plot, Kane uses a fragmentary structure to narrate the patient’s broken thoughts, which are not allowed to be voiced in a normal society. Deprived of the ability of voicing, the psychotic patient strives to communicate with others by incorporating collaged images in her language to visualize the devastated state of her psychological mind. Consisting of four chapters, this thesis examines the language of 4.48 Psychosis and interprets this play as Kane’s ultimate form of protest against the violence of social normalization. Chapter One is an introduction to Kane’s life, the play, the critical opinions, and the theoretical framework. Chapter Two analyzes the fragmentary structure of this play and studies how Kane uses poetic fragments to illustrate the patient’s alienation, psychological discomfort, and self-contradiction. Chapter Three examines the visual and textual images of this play. Both kinds of images assist the patient in her narration of psychological pain and her accusation against society. Chapter Four is the conclusion of the thesis that sums up the Artaudian approach of interpreting Kane’s poetic language in her theatre of violence. |
| 參考文獻 | Artaud, Antonin. “An Affective Athleticism.” The Theater and Its Double. Trans. Mary Caroline Richards. NY: Grove, 1958. 133-41. ---. “Letters on Cruelty.” The Theatre and Its Double. Trans. Mary Caroline Richards. NY: Grove, 1958. 101-4. ---. “Letters on Language.” The Theatre and Its Double. Trans. Mary Caroline Richards. NY: Grove, 1958. 105-21. ---. “Metaphysics and the Mise en Scène.” The Theatre and Its Double. Trans. Mary Caroline Richards. NY: Grove, 1958. 33-47. ---. “No More Masterpieces.” The Theatre and Its Double. Trans. Mary Caroline Richards. NY: Grove, 1958. 74-83. ---. Selected Writings. Ed. Susan Sontag. Trans. Helen Weaver. NY: Farrar, Straus and Giroux, 1976. ---. “The Theater of Cruelty.” The Theater and Its Double. Trans. Mary Caroline Richards. NY: Grove, 1958. 84-88. ---. “The Theater of Cruelty (First Manifesto).” The Theater and Its Double. Trans. Mary Caroline Richards. NY: Grove, 1958. 89-100. ---. “The Theater of Cruelty (Second Manifesto).” The Theatre and Its Double. Trans. Mary Caroline Richards. NY: Grove, 1958. 122-32. ---. “The Theatre of Cruelty, First and Second Manifestos.” The Theory of the Modern Stage. Ed. Eric Bentley. Trans. Mary Caroline Richards. London: Penguin Books, 1990. 55-75. ---. “On Suicide.” Anthology. Ed. Jack Hirschman. Trans. David Rattray. San Francisco: City Lights Books, 1965. 48-51. ---. “On the Balinese Theater.” The Theater and Its Double. Trans. Mary Caroline Richards. NY: Grove, 1958. 53-67. ---. “Oriental and Occidental Theatre.” The Theater and Its Double. Trans. Mary Caroline Richards. NY: Grove, 1958. 68-73. ---. “Who, in the Heart.” Anthology. Ed. Jack Hirschman. Trans. David Rattray. San Francisco: City Lights Books, 1965. 48-51. Brook, Peter. The Empty Space. Middelsex: Penguin Books, 1968. Billington, Michael. “How Do You Judge a 75-Minute Suicide Note? Review of 4.48 Psychosis, by Sarah Kane.” Guardian, 30 June 2000. Esslin, Martin. Artaud. London: John Calder, 1976. “Free Verse.” The Routledge Dictionary of Literary Terms. Ed. Peter Childs and Roger Fowler. 3rd ed . NY: Routledge, 2006. 94-5. Glass, James M. Psychosis and Power. NY: Cornell UP, 1995. Graver, David. The Aesthetics of Disturbance: Anti-art in Avant-garde Drama. Michigan: The U of Michigan P, 1995. Greene, Naomi. Antonin Artaud: Poet Without Words. NY: Simon and Schuster, 1970. Gritzner, Karoline. “(Post)Modern Subjectivity and the New Expressionism: Howard Barker, Sarah Kane, and Forced Entertainment.” Contemporary Theatre Review 18 (2008): 328-40. Hansford, James. Contemporary Dramatists. 6th ed. Ed. Thomas Riggs. NY: Detroit, 1999. Kane, Sarah. Complete Plays. Intro. David Greig. London: Methuen Drama, 2001. Kaplan, Ellen W. “The Cage is My Mind: Object and Image in Depicting Mental Illness on Stage.” Images of Mental Illness Through Text and Performance. Ed. Ellen W. Kaplan and Sarah J. Rudolph. NY: Edwin Mellen, 2005. 72-90. Kattwinkel, Susan. Audience Participation: Essays on Inclusion in Performance. Wesport: Praeger, 2003. Miller, Gustavus Hindman. Ten Thousand Dreams Interpreted. Montana: Kessinger, 2004. Morfee, Adrian. Antonin Artaud’s Writing Bodies. NY: Oxford UP, 2005. Murray, Christopher. “Theorizing And Playing: Intercultural Perspectives.” The Routledge Reader in Politics and Performance. Eds. Lizbeth Goodman and Jane De Gay. London: Rouledge, 2000. 83-9. Murray, Simon and John Keefe. Physical Theatres: A Critical Introduction. NY: Routledge, 2007. Rabellato, Dan. “Sarah Kane: An Appreciation.” New Theatre Quarterly 15 (1999): 280-81. Rabey, David Ian. “A Blasted F£££ing Difference?: The 1990s and Beyond.” English Drama since 1940. London: Longman, 2003. 198-290. Rippl, Gabriele. “Culture and Transgression: Phaedra’s Illicit Love and Its Cultural Transformations.” Metamorphosis Structures of Cultural Transformations. Ed. Jürgen Schlaeger. Germany: Hubert, 2005. 165-82. Saunders, Graham. About Kane: The Playwright and the Work. London: Faber, 2009. ---. Love Me or Kill Me: Sarah Kane and the Theatre of Extremes. Manchester: Manchester UP, 2002. Sierz, Aleks. In-Yer-Face Theatre: British Theatre Today. London: Faber & Faber, 2001. Singer, Annabelle. “Don’t Want to Be This: The Elusive Sarah Kane.” The Drama Review 48 (2004): 139-71. Sontag, Susan. “Approaching Artaud.” Antonin Artaud: A Critical Reader. Ed. Edward Scheer. London: Routledge, 2004. 83-95. Taylor, Paul. “A Suicide Note That is Extraordinarily Vital.” Independent, 30 June 2000. Independent Print Limited, London, England. 18 August 2010. < http://www.independent.co.uk/>. Urban, Ken. “Towards a Theory of Cruel Britannia: Coolness, Cruelty, and the `Nineties.” New Theatre Quarterly 20 (2004): 354-72. Watson, Ariel. “Cries of Fire: Psychotherapy in Contemporary British and Irish Drama.” Modern Drama 51 (2008): 188-210. |
| Description | 碩士 國立政治大學 英國語文學研究所 95551001 99 |
| 資料來源 | http://thesis.lib.nccu.edu.tw/record/#G0095551001 |
| Type | thesis |
| dc.contributor.advisor | 姜翠芬 | zh_TW |
| dc.contributor.advisor | Jiang, Tsui Fen | en_US |
| dc.contributor.author (Authors) | 黃韻如 | zh_TW |
| dc.contributor.author (Authors) | Huang, Yun Ju | en_US |
| dc.creator (作者) | 黃韻如 | zh_TW |
| dc.creator (作者) | Huang, Yun Ju | en_US |
| dc.date (日期) | 2010 | en_US |
| dc.date.accessioned | 5-Oct-2011 14:25:17 (UTC+8) | - |
| dc.date.available | 5-Oct-2011 14:25:17 (UTC+8) | - |
| dc.date.issued (上傳時間) | 5-Oct-2011 14:25:17 (UTC+8) | - |
| dc.identifier (Other Identifiers) | G0095551001 | en_US |
| dc.identifier.uri (URI) | http://nccur.lib.nccu.edu.tw/handle/140.119/51154 | - |
| dc.description (描述) | 碩士 | zh_TW |
| dc.description (描述) | 國立政治大學 | zh_TW |
| dc.description (描述) | 英國語文學研究所 | zh_TW |
| dc.description (描述) | 95551001 | zh_TW |
| dc.description (描述) | 99 | zh_TW |
| dc.description.abstract (摘要) | 莎拉肯恩《4.48精神異常》以破曉時分為題，描寫一名憂鬱成疾的女性於凌晨甦醒並決定以自殺終結生命的關鍵時刻。劇中呈現精神病患者承受心理治療之苦與面對社會正常化(social normalization)的暴力過程。肯恩早期的劇作強調具體暴力之呈現，有別於此，本劇大量使用影像，並以不連續的片段，文本化(textualize)社會的暴力壓迫。根據亞陶的殘酷劇場(Theatre of Cruelty)，片段式語言搭配影像的使用，能有效幫助個體表達難以言喻之想法與被壓抑之情感。本論文旨在借用亞氏語言觀探討肯恩《4.48精神異常》中詩意語言的使用。肯恩以片段式結構(fragmentary structure)取代角色與情節，傳達精神病患者不見容於社會的破碎思緒，並在病患的語言中採用拼貼式影像(collaged images)，企圖以視覺意象呈現其殘破不堪的心理狀態。本論文分成四章，分析《4.48精神異常》中的語言，將其視為肯恩對社會正常化所展現最終極抗議。首章說明肯恩生平、本劇簡介與評論及本論文理論架構。次章分析本劇的片段式結構，研究肯恩如何使用片段式的詩意文字描繪病人的孤立無援與自相矛盾等心理不適現象。第三章檢視本劇中視覺化(visual)與文字化(textual)的影像，其主要功能為幫助病人表述自我內心痛苦與對社會的控訴。論文末章總結指出亞氏觀點能幫助讀者解讀肯恩暴力劇場中的詩意語言。 | zh_TW |
| dc.description.abstract (摘要) | Titled with a crucial moment when a depressed woman awakes before dawn and decides to commit suicide, Sarah Kane’s 4.48 Psychosis presents the violent process of a psychotic patient suffering from psychiatric therapy and social normalization. Unlike Kane’s early plays that emphasize the presentation of physical violence, this play is characterized by an excessive use of images and is composed of discontinuous fragments that textualize the violent oppression from society. From Artaud’s theory of Theatre of Cruelty, the use of fragmentary language with images helps to convey one’s inexplicable thoughts and suppressed emotions. Artaud’s view on language sheds new light on the interpretation of Kane’s poetic language in 4.48 Psychosis. Without an explicit indication of characters and plot, Kane uses a fragmentary structure to narrate the patient’s broken thoughts, which are not allowed to be voiced in a normal society. Deprived of the ability of voicing, the psychotic patient strives to communicate with others by incorporating collaged images in her language to visualize the devastated state of her psychological mind. Consisting of four chapters, this thesis examines the language of 4.48 Psychosis and interprets this play as Kane’s ultimate form of protest against the violence of social normalization. Chapter One is an introduction to Kane’s life, the play, the critical opinions, and the theoretical framework. Chapter Two analyzes the fragmentary structure of this play and studies how Kane uses poetic fragments to illustrate the patient’s alienation, psychological discomfort, and self-contradiction. Chapter Three examines the visual and textual images of this play. Both kinds of images assist the patient in her narration of psychological pain and her accusation against society. Chapter Four is the conclusion of the thesis that sums up the Artaudian approach of interpreting Kane’s poetic language in her theatre of violence. | en_US |
| dc.description.tableofcontents | Chapter 1 Introduction.....01 1.1 Sarah Kane and Violence in Her Theatre.....03 1.2 Understanding Kane’s Violence through Artaud’s Theatre of Cruelty.....06 1.3 Literature Review.....13 1.4 Purpose and Methodological Approach.....18 1.5 Organization.....18 Chapter 2 The Fragmentary Structure.....23 2.1 Embodiment of the Patient’s Disrupted Psychology.....23 2.2 Artaud’s Idea on Fragmentary Language.....25 2.3 The Fragmentary Structure of 4.48 Psychosis and Its Significance.....32 2.3.1 Repetition.....34 2.3.2 Contrast.....38 2.3.3 Thematic Focus: Alienation.....41 2.3.4 Thematic Focus: Disjuncture of Body and Mind.....45 2.3.5 Thematic Focus: Self-Contradictory Attitude.....46 2.3.6 The Patient’s Suicide as the Ultimate Form of Protest.....50 Chapter 3 The Collaged Images.....55 3.1 A Dynamic Process of Viewing.....55 3.2 Artaud’s Idea on Images in Theatre.....57 3.3 The Images in 4.48 Psychosis.....61 3.3.1 Visual Images.....63 3.3.1.1 Thematic Focus: Desperation of A Broken Mind.....64 3.3.1.2 Thematic Focus: Confusion and Ambiguity.....67 3.3.1.3 Thematic Focus: Attack through Self-mutilation.....70 3.3.2 Textual Images.....76 3.3.2.1 Thematic Focus: Repressed Thoughts.....77 3.3.2.2 Thematic Focus: Psychology of Inconformity.....79 3.3.2.3 Thematic Focus: Accusation of Being Objectified.....81 3.3.3 Combination of Visual and Textual: The Patient’s Suicide.....84 Chapter 4 Conclusion.....91 | zh_TW |
| dc.language.iso | en_US | - |
| dc.source.uri (資料來源) | http://thesis.lib.nccu.edu.tw/record/#G0095551001 | en_US |
| dc.subject (關鍵詞) | 暴力 | zh_TW |
| dc.subject (關鍵詞) | 《4.48精神異常》 | zh_TW |
| dc.subject (關鍵詞) | 莎拉．肯恩 | zh_TW |
| dc.subject (關鍵詞) | 亞陶 | zh_TW |
| dc.subject (關鍵詞) | 殘酷劇場 | zh_TW |
| dc.subject (關鍵詞) | violence | en_US |
| dc.subject (關鍵詞) | 4.48 Psychosis | en_US |
| dc.subject (關鍵詞) | Sarah Kane | en_US |
| dc.subject (關鍵詞) | Antonin Artaud | en_US |
| dc.subject (關鍵詞) | Theatre of Cruelty | en_US |
| dc.title (題名) | 殘酷劇場中的戲劇詩：莎拉肯恩《4.48精神異常》之研究 | zh_TW |
| dc.title (題名) | The dramatic poetry in the theatre of cruelty: a study of Sarah Kane’s 4.48 psychosis | en_US |
| dc.type (資料類型) | thesis | en |
| dc.relation.reference (參考文獻) | Artaud, Antonin. “An Affective Athleticism.” The Theater and Its Double. Trans. Mary Caroline Richards. NY: Grove, 1958. 133-41. | zh_TW |
| dc.relation.reference (參考文獻) | ---. “Letters on Cruelty.” The Theatre and Its Double. Trans. Mary Caroline Richards. NY: Grove, 1958. 101-4. | zh_TW |
| dc.relation.reference (參考文獻) | ---. “Letters on Language.” The Theatre and Its Double. Trans. Mary Caroline Richards. NY: Grove, 1958. 105-21. | zh_TW |
| dc.relation.reference (參考文獻) | ---. “Metaphysics and the Mise en Scène.” The Theatre and Its Double. Trans. Mary Caroline Richards. NY: Grove, 1958. 33-47. | zh_TW |
| dc.relation.reference (參考文獻) | ---. “No More Masterpieces.” The Theatre and Its Double. Trans. Mary Caroline Richards. NY: Grove, 1958. 74-83. | zh_TW |
| dc.relation.reference (參考文獻) | ---. Selected Writings. Ed. Susan Sontag. Trans. Helen Weaver. NY: Farrar, Straus and Giroux, 1976. | zh_TW |
| dc.relation.reference (參考文獻) | ---. “The Theater of Cruelty.” The Theater and Its Double. Trans. Mary Caroline Richards. NY: Grove, 1958. 84-88. | zh_TW |
| dc.relation.reference (參考文獻) | ---. “The Theater of Cruelty (First Manifesto).” The Theater and Its Double. Trans. Mary Caroline Richards. NY: Grove, 1958. 89-100. | zh_TW |
| dc.relation.reference (參考文獻) | ---. “The Theater of Cruelty (Second Manifesto).” The Theatre and Its Double. Trans. Mary Caroline Richards. NY: Grove, 1958. 122-32. | zh_TW |
| dc.relation.reference (參考文獻) | ---. “The Theatre of Cruelty, First and Second Manifestos.” The Theory of the Modern Stage. Ed. Eric Bentley. Trans. Mary Caroline Richards. London: Penguin Books, 1990. 55-75. | zh_TW |
| dc.relation.reference (參考文獻) | ---. “On Suicide.” Anthology. Ed. Jack Hirschman. Trans. David Rattray. San Francisco: City Lights Books, 1965. 48-51. | zh_TW |
| dc.relation.reference (參考文獻) | ---. “On the Balinese Theater.” The Theater and Its Double. Trans. Mary Caroline Richards. NY: Grove, 1958. 53-67. | zh_TW |
| dc.relation.reference (參考文獻) | ---. “Oriental and Occidental Theatre.” The Theater and Its Double. Trans. Mary Caroline Richards. NY: Grove, 1958. 68-73. | zh_TW |
| dc.relation.reference (參考文獻) | ---. “Who, in the Heart.” Anthology. Ed. Jack Hirschman. Trans. David Rattray. San Francisco: City Lights Books, 1965. 48-51. | zh_TW |
| dc.relation.reference (參考文獻) | Brook, Peter. The Empty Space. Middelsex: Penguin Books, 1968. | zh_TW |
| dc.relation.reference (參考文獻) | Billington, Michael. “How Do You Judge a 75-Minute Suicide Note? Review of 4.48 Psychosis, by Sarah Kane.” Guardian, 30 June 2000. | zh_TW |
| dc.relation.reference (參考文獻) | Esslin, Martin. Artaud. London: John Calder, 1976. | zh_TW |
| dc.relation.reference (參考文獻) | “Free Verse.” The Routledge Dictionary of Literary Terms. Ed. Peter Childs and Roger Fowler. 3rd ed . NY: Routledge, 2006. 94-5. | zh_TW |
| dc.relation.reference (參考文獻) | Glass, James M. Psychosis and Power. NY: Cornell UP, 1995. | zh_TW |
| dc.relation.reference (參考文獻) | Graver, David. The Aesthetics of Disturbance: Anti-art in Avant-garde Drama. Michigan: The U of Michigan P, 1995. | zh_TW |
| dc.relation.reference (參考文獻) | Greene, Naomi. Antonin Artaud: Poet Without Words. NY: Simon and Schuster, 1970. | zh_TW |
| dc.relation.reference (參考文獻) | Gritzner, Karoline. “(Post)Modern Subjectivity and the New Expressionism: Howard Barker, Sarah Kane, and Forced Entertainment.” Contemporary Theatre Review 18 (2008): 328-40. | zh_TW |
| dc.relation.reference (參考文獻) | Hansford, James. Contemporary Dramatists. 6th ed. Ed. Thomas Riggs. NY: Detroit, 1999. | zh_TW |
| dc.relation.reference (參考文獻) | Kane, Sarah. Complete Plays. Intro. David Greig. London: Methuen Drama, 2001. | zh_TW |
| dc.relation.reference (參考文獻) | Kaplan, Ellen W. “The Cage is My Mind: Object and Image in Depicting Mental Illness on Stage.” Images of Mental Illness Through Text and Performance. Ed. Ellen W. Kaplan and Sarah J. Rudolph. NY: Edwin Mellen, 2005. 72-90. | zh_TW |
| dc.relation.reference (參考文獻) | Kattwinkel, Susan. Audience Participation: Essays on Inclusion in Performance. Wesport: Praeger, 2003. | zh_TW |
| dc.relation.reference (參考文獻) | Miller, Gustavus Hindman. Ten Thousand Dreams Interpreted. Montana: Kessinger, 2004. | zh_TW |
| dc.relation.reference (參考文獻) | Morfee, Adrian. Antonin Artaud’s Writing Bodies. NY: Oxford UP, 2005. | zh_TW |
| dc.relation.reference (參考文獻) | Murray, Christopher. “Theorizing And Playing: Intercultural Perspectives.” The Routledge Reader in Politics and Performance. Eds. Lizbeth Goodman and Jane De Gay. London: Rouledge, 2000. 83-9. | zh_TW |
| dc.relation.reference (參考文獻) | Murray, Simon and John Keefe. Physical Theatres: A Critical Introduction. NY: Routledge, 2007. | zh_TW |
| dc.relation.reference (參考文獻) | Rabellato, Dan. “Sarah Kane: An Appreciation.” New Theatre Quarterly 15 (1999): 280-81. | zh_TW |
| dc.relation.reference (參考文獻) | Rabey, David Ian. “A Blasted F£££ing Difference?: The 1990s and Beyond.” English Drama since 1940. London: Longman, 2003. 198-290. | zh_TW |
| dc.relation.reference (參考文獻) | Rippl, Gabriele. “Culture and Transgression: Phaedra’s Illicit Love and Its Cultural Transformations.” Metamorphosis Structures of Cultural Transformations. Ed. Jürgen Schlaeger. Germany: Hubert, 2005. 165-82. | zh_TW |
| dc.relation.reference (參考文獻) | Saunders, Graham. About Kane: The Playwright and the Work. London: Faber, 2009. | zh_TW |
| dc.relation.reference (參考文獻) | ---. Love Me or Kill Me: Sarah Kane and the Theatre of Extremes. Manchester: Manchester UP, 2002. | zh_TW |
| dc.relation.reference (參考文獻) | Sierz, Aleks. In-Yer-Face Theatre: British Theatre Today. London: Faber & Faber, 2001. | zh_TW |
| dc.relation.reference (參考文獻) | Singer, Annabelle. “Don’t Want to Be This: The Elusive Sarah Kane.” The Drama Review 48 (2004): 139-71. | zh_TW |
| dc.relation.reference (參考文獻) | Sontag, Susan. “Approaching Artaud.” Antonin Artaud: A Critical Reader. Ed. Edward Scheer. London: Routledge, 2004. 83-95. | zh_TW |
| dc.relation.reference (參考文獻) | Taylor, Paul. “A Suicide Note That is Extraordinarily Vital.” Independent, 30 June 2000. Independent Print Limited, London, England. 18 August 2010. < http://www.independent.co.uk/>. | zh_TW |
| dc.relation.reference (參考文獻) | Urban, Ken. “Towards a Theory of Cruel Britannia: Coolness, Cruelty, and the `Nineties.” New Theatre Quarterly 20 (2004): 354-72. | zh_TW |
| dc.relation.reference (參考文獻) | Watson, Ariel. “Cries of Fire: Psychotherapy in Contemporary British and Irish Drama.” Modern Drama 51 (2008): 188-210. | zh_TW |