請用此 Handle URI 來引用此文件：
http://tdr.lib.ntu.edu.tw/jspui/handle/123456789/23533完整後設資料紀錄
| DC 欄位 | 值 | 語言 |
|---|---|---|
| dc.contributor.advisor | 紀蔚然 | |
| dc.contributor.author | Tzu-Chun Liu | en |
| dc.contributor.author | 劉姿君 | zh_TW |
| dc.date.accessioned | 2021-06-08T05:03:38Z | - |
| dc.date.copyright | 2011-07-06 | |
| dc.date.issued | 2011 | |
| dc.date.submitted | 2011-03-04 | |
| dc.identifier.citation | Adams, Bert N. The American Family: a Sociological Interpretation. Chicago: Markham Publishing Company, 1971.
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| dc.identifier.uri | http://tdr.lib.ntu.edu.tw/jspui/handle/123456789/23533 | - |
| dc.description.abstract | 本文描繪當代美國家庭劇中家庭圖像的轉變，以及家庭中女性角色形象的變化，以美國劇壇經典且具有代表性的家庭劇作為討論對象，分別為《玻璃動物園》、《長夜漫漫路迢迢》、《葬子》、《晚安，母親》與《八月：奧賽奇郡》。理論架構以精神分析為主，並佐以女性主義的相關修正。
第二章對於家庭圖像的描繪，從組成元素到性別分工的運作規則，讓我們看見戰後初期傳統核心家庭的運作模式。首先是男主內、女主外的嚴格性別分工。伴隨著這種性別分工而來的，是夫妻在家庭中不同的權力位階，亦即丈夫作為所有者，而妻子是附屬的持家者。70年代之後的劇本如《葬子》、《晚安，母親》與《八月：奧賽奇郡》中的家庭圖樣則體現了現代家庭形式的多元化與性別聚合。這三個劇本中，我們可以看見對於父權與家庭的反抗與反省，以及性別角色的鬆動，尤其是女性自我意識的覺醒。 女性角色的形象則是由共謀走向抵抗。共謀即指單純體現自身在父權社會的作用之妻�母角色，而抵抗則是指具有自己的觀點與主體性的女性角色。《玻璃動物園》與《長夜漫漫路迢迢》中的阿曼達與瑪麗，皆是共謀角色的代表。這兩個劇本中，女性視犧牲奉獻、顧家而充滿道德感的妻母形象為自我實踐的標的。然而，到了70年代的《葬子》，黑莉一面扮演道德的妻�母角色，一面僭越父權社會的禁忌以追求自我欲求的滿足。《晚安：母親》裡，潔希以自殺的行為對父權社會、家庭的監控窺視說「不」。賽爾瑪則以實際生活作為對婚姻的反抗。婚姻、家庭與妻�母角色不再是無法逃離的天命。《八月：奧賽奇郡》則涵括女性在家庭中各種位階與角色。延續著《晚安，母親》自我與妻�母角色的脫離，此劇中的女性掙扎於扮演不同角色時的不同要求，與自我實踐的不同可能性之中。 | zh_TW |
| dc.description.provenance | Made available in DSpace on 2021-06-08T05:03:38Z (GMT). No. of bitstreams: 1 ntu-100-R96129002-1.pdf: 650938 bytes, checksum: d9345af4b7423417bb37362a54fe9d5c (MD5) Previous issue date: 2011 | en |
| dc.description.tableofcontents | 口試委員會審定書…………………………………………………… i
誌謝………………………………………………………………. ii 中文摘要…………………………………………….……………… iii 第一章 緒論………………………………………………………….. 1 第一節 研究動機…………………………………………………………1 第二節 歷史背景………………………………………….……..… 2 第三節 理論與文獻回顧……………………………………..…………… 7 第四節 篇章架構…………………………….…………………………….. 14 第二章 家庭圖像……………………………………………………………….. 16 第一節 家庭組成要素………………………...…………………………… 17 第二節 性別分工……………………………………………………………. 32 第三節 家庭型態變遷…………………………………………………... 40 第四節 小結…………………………………………………………………..47 第三章 家庭中的女性角色…………………………………………………… 48 第一節 《玻璃動物園》：傳統母親的剪影……………………………... 50 第二節 《長夜漫漫路迢迢》：舊時代的女性�母親………………… 58 第三節 《葬子》：女人的反動……………………………………………… 67 第四節 《晚安，母親》：母與女的私密對談……………………………… 76 第五節 《八月：奧賽奇郡》：世代交替中的母系家庭……………… 86 第四章 結論……………………………………………………………………. 97 參考文獻………………………………………………………………….…… 100 | |
| dc.language.iso | zh-TW | |
| dc.title | 共謀與抵制：當代美國家庭劇中的家庭圖像與女性角色 | zh_TW |
| dc.title | Complicit and Resistant: Family Image and Female Character in Contemporary American Family Drama | en |
| dc.type | Thesis | |
| dc.date.schoolyear | 99-2 | |
| dc.description.degree | 碩士 | |
| dc.contributor.oralexamcommittee | 謝筱玫,林于湘 | |
| dc.subject.keyword | 家庭劇,女性,玻璃動物園,長夜漫漫路迢迢,葬子,晚安，母親,八月：奧賽奇郡, | zh_TW |
| dc.subject.keyword | family drama,female character,Buried Child,Glass Menagerie,August: Osage County, | en |
| dc.relation.page | 106 | |
| dc.rights.note | 未授權 | |
| dc.date.accepted | 2011-03-07 | |
| dc.contributor.author-college | 文學院 | zh_TW |
| dc.contributor.author-dept | 戲劇學研究所 | zh_TW |
| 顯示於系所單位： | 戲劇學系 | |
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