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題名 重覆的夢境：論達芬˙茉莉兒之懸疑浪漫小說《蝴蝶夢》中的雙重快感
A Repeated Dream: Double Pleasure in Daphne du Maurier`s Romantic Suspense Rebecca
作者 喬郁珊
Chao, Yu Shan
貢獻者 陳音頤
Chen, Yin I
喬郁珊
Chao, Yu Shan
關鍵詞 雙重快感
《蝴蝶夢》
羅曼史文類
快感論述
一般快感
極樂
Rebecca (novel)
double pleasure
romance genre
pleasure theory
plasir
jouissance
日期 2013
上傳時間 1-Nov-2013 11:47:11 (UTC+8)
摘要 本文研究暢銷懸疑浪漫小說《蝴蝶夢》（Rebecca, 1938）中所蘊含的大量閱讀快感，並試圖以羅蘭˙巴特對於快感之論述，融合羅曼史小說相關之大眾文化理論，勾勒出「雙重快感」之原型構想，並以此理論解析《蝴蝶夢》文本中的快感運作。「雙重快感」理論點出，不論是巴特提及的「一般快感（plasir）」與「極樂（jouissance）」，或者是大眾文化研究中，與父權社會合作的「共謀式快感（complicit pleasure）」以及相抵觸的「抵抗式快感（resistive pleasure）」，都無法帶來徹底的滿足。相反地，正是在這兩類快感之間的游移、模糊的地帶，才是衍生更巨大快感之所在。讀者能藉由文本中的多重角色身分，在兩類快感的擺盪中，激發出更強烈的雙重快感。第一章首先對《蝴蝶夢》文本及相關評論作概略統整的介紹，並針對其歷久不衰的暢銷性，切入閱讀快感的主題。第二章針對「快感」的定義，做一系列的文獻回顧，並以巴特的快感理論為基礎架構，融合大眾文化研究領域裡的快感相關論述，構築出「雙重快感」的理論模型，並以圖像方式清楚呈現。第三章進入文本分析，討論文本中的重要角色如何反映了「雙重快感」的運作：莉碧嘉大膽享受著表裡不一的衝突生活所帶來的雙重快感，而無名的女主角抱持著對莉碧嘉的憧憬與模仿慾望，與莉碧嘉進行幻想式的重疊，再由自身複雜多重的身分認同之中，獲得雙重快感。第四章著重探討《蝴蝶夢》的讀者們如何能與角色進行心理重疊，脫離了日常自我的框架，游移擺盪於各種位置之間而獲得雙重快感。最終章將點出，《蝴蝶夢》的半開放（迴圈）式的結局，巧妙呼應著羅曼史文類「過程重於結局」的本質，也諭示出：羅曼史讀者重複閱讀、購買浪漫小說的普遍習慣，亦是試圖回歸雙重快感的一種表現。
This thesis aims to analyze the working of pleasure in the popular romantic suspense Rebecca through the “double pleasure theory” that is mainly based on Barthes’s pleasure theory of “plasir” and “jouissance.” Chapter One introduces the novel Rebecca and the pleasure issue involved within, a widely discussed topic raised by theorists in the field of cultural studies. Chapter Two seeks for the definition of pleasure by providing a general review of how the remarkable theorists, including Freud, Lacan, and Barthes, have discussed and analyzed the meaning of pleasure. From their observations, it can be deduced that pleasure are mainly divided into two kinds: the pleasure of the “Plasir” (the release of excitation) and the pleasure of the “Jouissance” (the intensification of excitation). The double pleasure theory inherits this basic structure, while adding a new point that the greatest pleasure cannot appear alone in either kind of single pleasure, but can only exist in the shifting process between these two. The theory can also be brought to the cultural layer of discussion about female pleasure, suggesting that women’s greatest pleasure occurs exactly between patriarchal ideologies and feminist values. Chapter Three focuses on textual analysis of the novel, revealing that the most important characters of the novel, Rebecca and the narrator/protagonist, have both proven the successful working of double pleasure throughout the whole story. Chapter Four discusses how the readers can also receive this double pleasure by identifying themselves with the female characters in the novel, and how the novel’s circular narrative structure can also help readers to retain that double pleasure. Much emphasis is put in Chapter Five to show that the novel’s special narrative structure also highlights the very phenomena in the romance genre—that the process of romance is far more significant than the ending—which presents as well a fact that romance reader’s repetitive reading/buying tendency is originated from the wish to regain double pleasure.
參考文獻 Abi-Ezzi, Nathalie. The Double in the Fiction of R.L. Stevenson, Wilkie Collins, and Daphne du Maurier. New York: Peterlang, 2003.
Adorno, Theodor, and Max Horkheimer. Dialectic of Enlightenment. Trans. John Cumming. London: Verso, 1986. 150-51. Print.
---, and Max Horkheimer. Dialectic of Enlightenment. Trans. John Cumming. London: Verso, 1997. 144. Print.
---, and Max Horkheimer. Dialectic of Enlightenment. Trans. Edmund Jephcott. California: Stanford University Press, 2002. 94-111. Print.
---. “Culture Industry Reconsidered.” 1975, Ashley 43-48.
Ang, Ien. “Feminist Desire and Female Pleasure.” Storey 522-32.
Ardis, Ann L.. New Women, New Novels: Feminism and Early Modernism. New Brunswick: Rutgers UP, 1990.
Ashley, Bob, ed. Reading Popular Narrative: A Source Book. London: Leicester UP, 1997.
Barthes, Roland. The Pleasure of the Text. Trans. Richard Miller. Oxford: Basil Blackwell. 1990.
Batsleer, Janet. “Pulp in the Pink.” Ashley 217-22.
Bloom, Clive. Bestsellers: Popular Fiction Since 1900. London: Palgrave Macmillan, 2002.
---. “Bestselling Fiction Before and After the First World War.” Parrinder 180-94.
Bourdieu, Pierre. Distinction: A Social Critique of the Judgment of Taste. Trans. Richard Nice. Cambridge, Mass.: Harvard UP, 1984.
Burgin, Victor, James Donald, and Cora Kaplan, eds. Formations of Fantasy. London: Methuen, 1986.
Brown, Mary Ellen, ed. Television and Women’s Culture. London: Sage, 1990.
Chen, Eva Yin-I. “Complicity, Resistance or Fantasy: Pleasure and the Reading of Popular Romance.” Chung-Wai Literary Monthly 32. 12 (2004): 149-74.
Chodorow, Nancy. The Reproduction of Mothering: Psychoanalysis and the Sociology of Gender. Berkeley: U of California P, 1978.
Christian-Smith, Linda K. Becoming a Woman through Romance. NewYork: Routledge, 1990.
Connor, Steven. “Aesthetics, Pleasure and Value.” The Politics of Pleasure: Aesthetics and Cultural Theory, Ed. Stephen Regan. Buckingham: Open UP, 1992. 203-20.
Cowie, Elizabeth. Representing the Woman: Cinema and Psychoanalysis. London: Macmillan, 1997.
du Maurier, Daphne. Rebecca. New York: Avon Books, 1971.
Elliot, Bridget. “Art Deco Hybridity, Interior Design, and Sexuality between Wars.” Sapphic Modernities: Sexuality, Women and National Culture. Eds. Laura Doan and Jane Garrity. New York: Palgrave Macmillan, 2006. 109-29.
Freud, Sigmund. Beyond the Pleasure Principle. 1920. Standard Edition. Vol.18. London: Hograth, 1955.
Greer, Germaine. The Female Eunuch. London: Paladin, 1971.
Hipsky, Martin. Modernism and the Women’s Popular Romance in Britain, 1855-1925. Athens: Ohio UP, 2011.
Kaplan, Cora. “The Thorn Birds: Fiction, Fantasy, Femininity.” Burgin, Donald and Kaplan 142-67.
Kelly, Richard. Daphne du Maurier. Boston: Twayne Publishers, 1987.
Lacan, Jacques. The Seminar. Book XI. The Four Fundamental Concepts of Psychoanalysis 1964. Trans. Alan Sheridan. London: Hograth Press, 1977.
Light, Alison. “‘Returning to Manderley’: Romance Fiction, Female Sexuality and Class.” Feminist Review 16 (Summer 1984): 7-25.
Makinen, Merja. Feminist Popular Fiction. London: Palgrave, 2001.
McCracken, Scott. Pulp: Reading Popular Fiction. Manchester: Manchester UP, 1998.
Modleski, Tania. Loving with a Vengeance: Mass-Produced Fantasies for Women. Hamden: Archon, 1982.
---. The Women Who Knew Too Much: Hitchcock and Feminist Theory. London: Taylor & Francis, 1988.
Mussell, Kay. Fantasy and Reconciliation: Contemporary Formulas of Women’s Romantic Fictions. Westport: Greenwood, 1984.
Palmer, Jerry. Potboilers: Methods, Concepts and Case Studies in Popular Fiction. London: Routledge, 1991.
Parrinder, Patrick, and Andrzej Gąsiorek, eds. The Reinvention of the British and Irish Novel 1880-1940. Oxford: Oxford UP, 2011.
Radway, Janice A. Reading the Romance: Women, Patriarchy, and Popular Literature. London: Verso, 1984.
Richardson, Angelique, and Chris Willis, eds. The New Woman in Fiction and in Fact: Fin-de-Siècle Feminisms. New York: Palgrave Macmillan, 2002.
Sherridan, Alan. “Translator’s Note.” The Seminar. Book XI. The Four Fundamental Concepts of Psychoanalysis 1964. Trans. Alan Sheridan. London: Hograth and Institute of Psycho-Analyasis, 1977.
Storey, John, ed. Cultural Theory and Popular Culture: A Reader. 2nd ed. London: Prentice Hall, 1998.
Turner, Graeme. British Cultural Studies: An Introduction. 2nd ed. London: Routledge, 1992.
Webster, Duncan. “Pessimism, Optimism, Pleasure: The Future of Cultural Studies.” Storey 554-69.
Willis, Chris. “‘Heaven defend me from political or highly-educated woman!’: Packaging the New Woman for Mass Consumption.” Richardson 53-65.
描述 碩士
國立政治大學
英國語文學研究所
99551007
102
資料來源 http://thesis.lib.nccu.edu.tw/record/#G0099551007
資料類型 thesis
dc.contributor.advisor 陳音頤zh_TW
dc.contributor.advisor Chen, Yin Ien_US
dc.contributor.author (Authors) 喬郁珊zh_TW
dc.contributor.author (Authors) Chao, Yu Shanen_US
dc.creator (作者) 喬郁珊zh_TW
dc.creator (作者) Chao, Yu Shanen_US
dc.date (日期) 2013en_US
dc.date.accessioned 1-Nov-2013 11:47:11 (UTC+8)-
dc.date.available 1-Nov-2013 11:47:11 (UTC+8)-
dc.date.issued (上傳時間) 1-Nov-2013 11:47:11 (UTC+8)-
dc.identifier (Other Identifiers) G0099551007en_US
dc.identifier.uri (URI) http://nccur.lib.nccu.edu.tw/handle/140.119/61508-
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) 99551007zh_TW
dc.description (描述) 102zh_TW
dc.description.abstract (摘要) 本文研究暢銷懸疑浪漫小說《蝴蝶夢》（Rebecca, 1938）中所蘊含的大量閱讀快感，並試圖以羅蘭˙巴特對於快感之論述，融合羅曼史小說相關之大眾文化理論，勾勒出「雙重快感」之原型構想，並以此理論解析《蝴蝶夢》文本中的快感運作。「雙重快感」理論點出，不論是巴特提及的「一般快感（plasir）」與「極樂（jouissance）」，或者是大眾文化研究中，與父權社會合作的「共謀式快感（complicit pleasure）」以及相抵觸的「抵抗式快感（resistive pleasure）」，都無法帶來徹底的滿足。相反地，正是在這兩類快感之間的游移、模糊的地帶，才是衍生更巨大快感之所在。讀者能藉由文本中的多重角色身分，在兩類快感的擺盪中，激發出更強烈的雙重快感。第一章首先對《蝴蝶夢》文本及相關評論作概略統整的介紹，並針對其歷久不衰的暢銷性，切入閱讀快感的主題。第二章針對「快感」的定義，做一系列的文獻回顧，並以巴特的快感理論為基礎架構，融合大眾文化研究領域裡的快感相關論述，構築出「雙重快感」的理論模型，並以圖像方式清楚呈現。第三章進入文本分析，討論文本中的重要角色如何反映了「雙重快感」的運作：莉碧嘉大膽享受著表裡不一的衝突生活所帶來的雙重快感，而無名的女主角抱持著對莉碧嘉的憧憬與模仿慾望，與莉碧嘉進行幻想式的重疊，再由自身複雜多重的身分認同之中，獲得雙重快感。第四章著重探討《蝴蝶夢》的讀者們如何能與角色進行心理重疊，脫離了日常自我的框架，游移擺盪於各種位置之間而獲得雙重快感。最終章將點出，《蝴蝶夢》的半開放（迴圈）式的結局，巧妙呼應著羅曼史文類「過程重於結局」的本質，也諭示出：羅曼史讀者重複閱讀、購買浪漫小說的普遍習慣，亦是試圖回歸雙重快感的一種表現。zh_TW
dc.description.abstract (摘要) This thesis aims to analyze the working of pleasure in the popular romantic suspense Rebecca through the “double pleasure theory” that is mainly based on Barthes’s pleasure theory of “plasir” and “jouissance.” Chapter One introduces the novel Rebecca and the pleasure issue involved within, a widely discussed topic raised by theorists in the field of cultural studies. Chapter Two seeks for the definition of pleasure by providing a general review of how the remarkable theorists, including Freud, Lacan, and Barthes, have discussed and analyzed the meaning of pleasure. From their observations, it can be deduced that pleasure are mainly divided into two kinds: the pleasure of the “Plasir” (the release of excitation) and the pleasure of the “Jouissance” (the intensification of excitation). The double pleasure theory inherits this basic structure, while adding a new point that the greatest pleasure cannot appear alone in either kind of single pleasure, but can only exist in the shifting process between these two. The theory can also be brought to the cultural layer of discussion about female pleasure, suggesting that women’s greatest pleasure occurs exactly between patriarchal ideologies and feminist values. Chapter Three focuses on textual analysis of the novel, revealing that the most important characters of the novel, Rebecca and the narrator/protagonist, have both proven the successful working of double pleasure throughout the whole story. Chapter Four discusses how the readers can also receive this double pleasure by identifying themselves with the female characters in the novel, and how the novel’s circular narrative structure can also help readers to retain that double pleasure. Much emphasis is put in Chapter Five to show that the novel’s special narrative structure also highlights the very phenomena in the romance genre—that the process of romance is far more significant than the ending—which presents as well a fact that romance reader’s repetitive reading/buying tendency is originated from the wish to regain double pleasure.en_US
dc.description.tableofcontents Acknowledgement………………………………………………………………iii
Chinese Abstract……………………………………………………………………vii
English Abstract…………………………………………………………………viii

Chapter One: Introduction………………………………………………………1
Literature Review………………………………………………………………4
Methodology and Chapter Organization……………6

Chapter Two: The Double Pleasure Theory……………………………………13

Chapter Three: The Double Pleasure in Rebecca……………………31
Case 1: Rebecca……………………………………………………………31
Case 2: The Narrator/Protagonist……………………………………45

Chapter Four: Readers’ Pleasure in Reading Rebecca…………65
Readers’ Double Pleasure within the Text of Rebecca…………66
A Justice Done to Everyone?…………………………71
Mystery of the Ending: Double Pleasure in Fantasies and Dreams……………73
Readers’ Double Pleasure outside the Text: A Forever Continued Story……………………75

Chapter Five: Conclusion……………………………………………………………81

Works Cited…………………………………………………………………………87		zh_TW
dc.format.extent 861802 bytes-
dc.format.mimetype application/pdf-
dc.language.iso en_US-
dc.source.uri (資料來源) http://thesis.lib.nccu.edu.tw/record/#G0099551007en_US
dc.subject (關鍵詞) 雙重快感zh_TW
dc.subject (關鍵詞) 《蝴蝶夢》zh_TW
dc.subject (關鍵詞) 羅曼史文類zh_TW
dc.subject (關鍵詞) 快感論述zh_TW
dc.subject (關鍵詞) 一般快感zh_TW
dc.subject (關鍵詞) 極樂zh_TW
dc.subject (關鍵詞) Rebecca (novel)en_US
dc.subject (關鍵詞) double pleasureen_US
dc.subject (關鍵詞) romance genreen_US
dc.subject (關鍵詞) pleasure theoryen_US
dc.subject (關鍵詞) plasiren_US
dc.subject (關鍵詞) jouissanceen_US
dc.title (題名) 重覆的夢境：論達芬˙茉莉兒之懸疑浪漫小說《蝴蝶夢》中的雙重快感zh_TW
dc.title (題名) A Repeated Dream: Double Pleasure in Daphne du Maurier`s Romantic Suspense Rebeccaen_US
dc.type (資料類型) thesisen
dc.relation.reference (參考文獻) Abi-Ezzi, Nathalie. The Double in the Fiction of R.L. Stevenson, Wilkie Collins, and Daphne du Maurier. New York: Peterlang, 2003.
Adorno, Theodor, and Max Horkheimer. Dialectic of Enlightenment. Trans. John Cumming. London: Verso, 1986. 150-51. Print.
---, and Max Horkheimer. Dialectic of Enlightenment. Trans. John Cumming. London: Verso, 1997. 144. Print.
---, and Max Horkheimer. Dialectic of Enlightenment. Trans. Edmund Jephcott. California: Stanford University Press, 2002. 94-111. Print.
---. “Culture Industry Reconsidered.” 1975, Ashley 43-48.
Ang, Ien. “Feminist Desire and Female Pleasure.” Storey 522-32.
Ardis, Ann L.. New Women, New Novels: Feminism and Early Modernism. New Brunswick: Rutgers UP, 1990.
Ashley, Bob, ed. Reading Popular Narrative: A Source Book. London: Leicester UP, 1997.
Barthes, Roland. The Pleasure of the Text. Trans. Richard Miller. Oxford: Basil Blackwell. 1990.
Batsleer, Janet. “Pulp in the Pink.” Ashley 217-22.
Bloom, Clive. Bestsellers: Popular Fiction Since 1900. London: Palgrave Macmillan, 2002.
---. “Bestselling Fiction Before and After the First World War.” Parrinder 180-94.
Bourdieu, Pierre. Distinction: A Social Critique of the Judgment of Taste. Trans. Richard Nice. Cambridge, Mass.: Harvard UP, 1984.
Burgin, Victor, James Donald, and Cora Kaplan, eds. Formations of Fantasy. London: Methuen, 1986.
Brown, Mary Ellen, ed. Television and Women’s Culture. London: Sage, 1990.
Chen, Eva Yin-I. “Complicity, Resistance or Fantasy: Pleasure and the Reading of Popular Romance.” Chung-Wai Literary Monthly 32. 12 (2004): 149-74.
Chodorow, Nancy. The Reproduction of Mothering: Psychoanalysis and the Sociology of Gender. Berkeley: U of California P, 1978.
Christian-Smith, Linda K. Becoming a Woman through Romance. NewYork: Routledge, 1990.
Connor, Steven. “Aesthetics, Pleasure and Value.” The Politics of Pleasure: Aesthetics and Cultural Theory, Ed. Stephen Regan. Buckingham: Open UP, 1992. 203-20.
Cowie, Elizabeth. Representing the Woman: Cinema and Psychoanalysis. London: Macmillan, 1997.
du Maurier, Daphne. Rebecca. New York: Avon Books, 1971.
Elliot, Bridget. “Art Deco Hybridity, Interior Design, and Sexuality between Wars.” Sapphic Modernities: Sexuality, Women and National Culture. Eds. Laura Doan and Jane Garrity. New York: Palgrave Macmillan, 2006. 109-29.
Freud, Sigmund. Beyond the Pleasure Principle. 1920. Standard Edition. Vol.18. London: Hograth, 1955.
Greer, Germaine. The Female Eunuch. London: Paladin, 1971.
Hipsky, Martin. Modernism and the Women’s Popular Romance in Britain, 1855-1925. Athens: Ohio UP, 2011.
Kaplan, Cora. “The Thorn Birds: Fiction, Fantasy, Femininity.” Burgin, Donald and Kaplan 142-67.
Kelly, Richard. Daphne du Maurier. Boston: Twayne Publishers, 1987.
Lacan, Jacques. The Seminar. Book XI. The Four Fundamental Concepts of Psychoanalysis 1964. Trans. Alan Sheridan. London: Hograth Press, 1977.
Light, Alison. “‘Returning to Manderley’: Romance Fiction, Female Sexuality and Class.” Feminist Review 16 (Summer 1984): 7-25.
Makinen, Merja. Feminist Popular Fiction. London: Palgrave, 2001.
McCracken, Scott. Pulp: Reading Popular Fiction. Manchester: Manchester UP, 1998.
Modleski, Tania. Loving with a Vengeance: Mass-Produced Fantasies for Women. Hamden: Archon, 1982.
---. The Women Who Knew Too Much: Hitchcock and Feminist Theory. London: Taylor & Francis, 1988.
Mussell, Kay. Fantasy and Reconciliation: Contemporary Formulas of Women’s Romantic Fictions. Westport: Greenwood, 1984.
Palmer, Jerry. Potboilers: Methods, Concepts and Case Studies in Popular Fiction. London: Routledge, 1991.
Parrinder, Patrick, and Andrzej Gąsiorek, eds. The Reinvention of the British and Irish Novel 1880-1940. Oxford: Oxford UP, 2011.
Radway, Janice A. Reading the Romance: Women, Patriarchy, and Popular Literature. London: Verso, 1984.
Richardson, Angelique, and Chris Willis, eds. The New Woman in Fiction and in Fact: Fin-de-Siècle Feminisms. New York: Palgrave Macmillan, 2002.
Sherridan, Alan. “Translator’s Note.” The Seminar. Book XI. The Four Fundamental Concepts of Psychoanalysis 1964. Trans. Alan Sheridan. London: Hograth and Institute of Psycho-Analyasis, 1977.
Storey, John, ed. Cultural Theory and Popular Culture: A Reader. 2nd ed. London: Prentice Hall, 1998.
Turner, Graeme. British Cultural Studies: An Introduction. 2nd ed. London: Routledge, 1992.
Webster, Duncan. “Pessimism, Optimism, Pleasure: The Future of Cultural Studies.” Storey 554-69.
Willis, Chris. “‘Heaven defend me from political or highly-educated woman!’: Packaging the New Woman for Mass Consumption.” Richardson 53-65.		zh_TW