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    Please use this identifier to cite or link to this item: http://ir.lib.ncu.edu.tw/handle/987654321/4423


    Title: 《達洛威夫人》中的影子、罔兩與女性賦權;Shadow, Penumbra and Female Empowerment in Mrs.Dalloway
    Authors: 郭家珍;Chia-Chen Kuo
    Contributors: 英美語文學研究所
    Keywords: 罔兩;含蓄父權;《達洛威夫人》;意識流;女性賦權;stream of consciousness;penumbra;reticent patriarchy;Mrs. Dalloway;female empowerment
    Date: 2004-07-09
    Issue Date: 2009-09-22 09:19:00 (UTC+8)
    Publisher: 國立中央大學圖書館
    Abstract: 本篇論文旨在透過維吉尼亞?吳爾芙(Virginia Woolf)的小說《達洛威夫人》(Mrs. Dalloway),探討書中四位女性如何在父權含蓄而細微的影響與宰制之下,替自己發聲,甚至贏得能動性。 在小說中,含蓄的父權有另外的名字:均衡與改宗。它們被書裡某些男性所推崇,而此造成了一種廣泛性的、包括男性與女性的臣服。除了挪用丁乃非與劉人鵬關於含蓄的討論,本文也將他們原有的「形?父權、景?女性主義、罔兩?酷兒」的關係,轉變成符合書中的特色:「形?父權、景?馴服的女性、罔兩?另類的女性」。透過這個新關係,本文企圖指出,還有別的女性對於自己所處的狀況有不同的想法。本文將透過蕾西亞、克曼小姐、布魯頓夫人、克萊麗莎來討論。稱她們為罔両不代表她們沒有影子的特性或是不受父權意識型態的掌控;而是從她們並未意識到的另類行為,觀察到她們所擁有的罔兩性。本文特別呈現她們的影子性和罔兩性是如何地相互衝突,並造成她們的壓抑。 這四位女性沒有意識到自己的壓抑,但它們確實是直接挑戰含蓄父權的想法。意識流的技巧讓讀者直接參與角色的想法。此技巧同時呈現了她們的壓抑與賦權。有些是用來改善她們的物質環境或確保她們的生存;有些則改變了她們原有看待社會與自己的方式。無論如何,這些行為都證明了她們能動性的存在。身為罔兩們,她們不再是無形與無聲的,而是在不同的方式上,展現了她們的主體性與能動性。 This thesis is intended to argue that in Virginia Woolf’s novel, Mrs. Dalloway, under the inconspicuous influence and domination of reticent patriarchy, four female characters try to articulate themselves and win themselves agency. In the novel, reticent patriarchy has other names: Proportion and Conversion, which are propagated by some male characters, and that produces an overall submissive situation, including males’ and females’ submission. Besides using Ding Naifei and Jen-Peng Liu’s idea of reticence, I also change their original equation of substance/patriarchy, shadow/feminism and penumbra/queer into a new one, which consists of substance/patriarchy, shadows/docile female characters and penumbrae/alternative female characters. This new equation clearly presents that there are other female characters having different thoughts about their situations. Rezia Smith, Doris Kilman, Lady Bruton and Clarissa Dalloway are my examples. I intend to discuss these four women’s situations by separating them into two groups according to their class positions: Rezia and Miss Kilman from one group while Lady Bruton and Clarissa constitute the other. The reason why I identify them as penumbrae is not because they do not have the shadow sides or they are not interpellated by patriarchy, but because, as we can see from their not fully aware and alternative behaviors, they possess the penumbra sides. I especially want to demonstrate that how their shadow sides contradict their penumbra sides, and their repression is the effect of this contradiction. These four women may not be aware of their repressed thoughts, but they are indeed the direct challenge to reticent patriarchy. The stream of consciousness technique provides readers the first-hand information by participating in their consciousness. This technique both presents their repression but also their methods of empowerment. Some of them better their material conditions or assure their life survival; some of them change the ways they used to see the society or themselves. Either way, those behaviors indicate the existence of penumbra’s agency. As penumbrae, they are no more shapeless and voiceless; instead, in different ways, they perform their subjectivity and agency.
    Appears in Collections:[英美語文研究所 ] 博碩士論文

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