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http://tdr.lib.ntu.edu.tw/jspui/handle/123456789/27449Full metadata record
| ???org.dspace.app.webui.jsptag.ItemTag.dcfield??? | Value | Language |
|---|---|---|
| dc.contributor.advisor | 紀蔚然 | |
| dc.contributor.author | Jhih-Yin Lee | en |
| dc.contributor.author | 李知音 | zh_TW |
| dc.date.accessioned | 2021-06-12T18:05:23Z | - |
| dc.date.available | 2008-12-06 | |
| dc.date.copyright | 2008-01-24 | |
| dc.date.issued | 2008 | |
| dc.date.submitted | 2008-01-08 | |
| dc.identifier.citation | Ashcroft, Bill, Gareth Griffiths and Helen Tiffin. Key Concepts in Post-Colonial Studies. New York: Routledge, 1999.
---. The Empires Writes Back: Theory and Practice in Post-colonial Literatures. New York: Routledge, 2002. Baldwin, James. The Devil Finds Work. Washington: Delta, 1976. Bartlett, Frederick. Remembering: a Study in Experimental and Social Psychology. London: Cambridge University Press, 1932. Belton, Don. Speak My Name: Black Men on Masculinity and the American Dream. Boston: Beacon, 1997. Bhabha, Homi K. The Location of Culture. NY: Routledge, 1994. Bloom, Harold. Bloom’s Major Dramatists: August Wilson. PA: Chelsea House, 2001. Bracy, John H., August Meier, and Elliott Radwick. eds. Black Nationalism in America. Indianapolis: Bobbs-Merrill, 1970. Brockett, Oscar G. and Robert J. Ball. The Essential Theatre. 8th ed. New York: Wadsworth, 2004. Brustein, Robert. “The Lessons of ‘The Piano Lesson’.” New Republic 22 May 1990: 202. Bryer, Jackson R. and Mary C. Hartig. Conversations with August Wilson. Jackson: Mississippi UP, 2006. vii-xvi. Bullins, Ed. “Theatre of Reality.” Negro Digest XV 15 April 1966: 60-66. Burke, Peter. Varieties of Cultural History. Oxford: Polity Press, 1997. Coffin, Tristram P. and Cohen Hennig. Eds. Folklore in America: Tales, Songs, Superstitions, Proverbs, Riddles, Games, Folk drama and Folk festivals. New York: Doubleday, 1966. Coser, Lewis A., ed. & trans. On Collective Memory. Chicago: Chicago UP, 1992. Crow, Brian and Christ Banfield. An Introduction to Post-Colonial Theatre. New York: Cambridge UP, 1996. Du Bois, W.E.B. “Krigwa Little Theatre Movement.” Crisis XXXII July 1926: 134-36. ---. The Souls of Black Folk. New York: Modern Library, 2003. Edmonds, Randolph. “Black Drama.” American Theatre. 421 ---. “Some Reflection on the Negro in American Drama.” Opportunity VIII 1930: 303-05. Elam, Harry J. and Ann Arbor Jr. The Past as Present in the Drama of August Wilson. Michigan: the Michigan UP, 2004. Fanon, Frantz. The Wretched of the Earth. Trans. Constance Farrington. New York: Grove Press, 1963. Foucault, Michel. Discipline and Punish: The Birth of the Prison. Trans. Alan Sheridan. New York: Vintage, 1977. Francis, Armet. The Black Triangle. North Carolina: Seed, 1985. Garofalo, Reebee. Rockin' Out: Popular Music in the USA. New Jersey: Allyn & Bacon, 1997. Gates, Henry Louis. “Black Creativity: On the Cutting Edge.” Time 10 Oct. 1994: 74-75. ---. “The Chitlin Circuit.” New Yorker 3 Feb. 1996: 44-55. Gilbert, Helen. Post-Colonial Drama: Theory, Practice, Politics. New York: Rutledge, 1996. ---. Postcolonial Plays: An Anthology. Ed. London ; New York: Rutledge, 2001. Green, Lisa J. African American English: A Linguistic Introduction. Cambridge: Cambridge UP, 2002. Hansberry, Lorraine and Robert Neminorff. To Be Young, Gifted, and Black: Lorraine Hansberry in Her Own Words. New York: Prentice Hall Trade, 1969. Harrison, Paul Carter. “August Wilson’s Blues Poetics.” August Wilson: Three Plays. Pittsburgh: Pittsburgh UP, 1991: 291-318. Hay, Samuel A. African American Theatre: An Historical and Critical Analysis. NY: Cambridge UP, 1996. ---. Ed Bullins: A Literary Biography. Wayne: Wayne State UP, 1997. Heard, Elisabeth J. “August Wilson on Playwrighting: An Interviw.” Conversations with August Wilson. Eds. Jackson R. Bryer and Mary C. Hatig. Jackson: Mississippi UP, 2006: 223-34. Hughes, Langston. “That Boy LeRoi.” Anthology of the American Negro in the Theatre: A critical Approach. Ed. Lindsay Patterson. London: Publisher Agency, 1967: 205. ----. Fine Clothes to The Jew. New York, 1927. ---. 'The Negro Artist and the Racial Mountain.' Nation 23 June 1926. Jones, LeRoi. Black Music. Philadelphia: Da Capo Press, 1998. ---. Dutchman and the Slave. New York: Harperperennial, 1964. ---. Home: Social Essays. New York: Ecco, 1998. ---. Blues People: Negro Music in White America. New York: Perennial, 1999. Kent, George. Blackness and The Adventure of Western Culture. Chicago: Third World, 1991. Koch, Frederick. Ed. America Folk Plays. New York: Reprint Services Corporation, 1993. Koolish, Linda. African American Writers: Portraits and Visions. Jackson: Mississippi UP, 2001. Lahr, John. “Been Here and Gone: How August Wilson Brought A Century of Black American Culture to the Stage.” New Yorker Apr. 16, 2001: 50-65. Lee, Don L. The Black Aesthetic. Ed. Addison Gayle Jr. New York: Doubleday, 1972. Livingston, Dinah. “Cool August: Mr. Wilson’s Red-Hot Blues.” Conversations with August Wilson. Eds. Jackson R. Bryer and Mary C. Hatig. Jackson: Mississippi UP, 2006: 38-60. Lyons, Bonnie. An Interview with August Wilson.” Conversations with August Wilson. Eds. Jackson R. Bryer and Mary C. Hatig. Jackson: Mississippi UP, 2006: 204-22. McClinton, Marion. “Preface.” Jitney. New York: The Overlook, 2003. McKelly, James C. “Hymns of Sedition: Portraits of the Artist in Contemporary African-American Drama.” Arizona Quarterly 48 (1992): 87-107. Moore-Gilbert, Bart, Postcolonial Theory: Contexts, Practices, Politics. London: New York: Verso, 1997. Moyers, Bill. “August Wilson: Playwright.” Conversations with August Wilson. Eds. Jackson R. Bryer and Mary C. Hatig. Jackson: Mississippi UP, 2006. 61-80. Neal, Larry. “The Black Art Movement.” Drama Review 12 (1968): 29-39. ---. Visions of a Liberated Future: Black Arts Movement Writings. New York: Thunder's Mouth, 1989. Okur, Nilgun Anadolu. Contemporary African American Theatre: Afrocentricity in the Works of Larry Neal, Amiri Baraka, and Charles Fuller. NY & London: Garland, 1997. Patterson, Lindsay. “Review of Ed Bullins in the Wine Time. ” New York Times (1968): December. Sec. 2. P7. Powell, Richard J. Black Art and Culture in the 20th Century. New York: Thames and Hudson, 1997. Powers, Kim. “An Interview with August Wilson.” Conversations with August Wilson. Eds. Jackson R. Bryer and Mary C. Hatig. Jackson: Mississippi UP, 2006: 3-11. Richardson, Willis. “The Hope of a Negro Drama.” Crisis XIX 1919 : 338-39. Rosen, Carol. “August Wilson: Bard of the Blues.” Conversations with August Wilson. Eds. Jackson R. Bryer and Mary C. Hatig. Jackson: Mississippi UP, 2006:188-203. Said, Edward W. Orientalism. New York: Vintage, 1979. ---. Culture and Imperialism. New York: Vintage, 1994. ---. Representations of The Intellectual. New York: Vintage, 1996. Sanders, Leslie Catherine. The Development of Black Theatre in America. Baton Rouge: Louisiana UP, 1988. Savran, David. “August Wilson.” Conversations with August Wilson. Eds. Jackson R. Bryer and Mary C. Hatig. Jackson: Mississippi UP, 2006: 19-37. Shannon, Sandra G. and Dana A. Williams. “A Conversation with August Wilson.” Conversations with August Wilson. Eds. Jackson R. Bryer and Mary C. Hatig. Jackson: Mississippi UP, 2006: 241-52. Sheppard, Vear. “August Wilson: An Interview.” Conversations with August Wilson. Eds. Jackson R. Bryer and Mary C. Hatig. Jackson: Mississippi UP, 2006:101-17. Smitherman, Geneva. Talkin that Talk: Language, Culture and Education in African America. New York: Routledge, 1999. Springer, Robert. Nobody Knows Where The Blues Comes From. Jackson: Mississippi UP, 2006. Wilmeth, Don B. and Christopher Bigsby. The Cambridge History of American Theatre: Post-World War II to the 1990s. Cambridge: Cambridge UP, 1998. Wilson, August. Ma Rainey’s Black Bottom: A Play in Two Acts. New York: Penguin, 1985. ---. The Piano Lesson. New York: Penguin, 1990. ---. August Wilson: Three Plays. Pittsburgh: Pittsburgh UP, 1991. ---. Two Trains Running. New York: Penguin, 1992. ---.Seven Guitars. New York: Penguin. 1997. ---. King Hedley II. New York: TCG. 1999. ---. Jitney. New York: The Overlook, 2003. ---. Gem of the Ocean. New York: TCG. 2003. ---. Radio Golf. New York: TCG. 2007. 法蘭茲．法農. 《黑皮膚，白面具》. 陳瑞樺譯. 台北：心靈工坊，2005. 法蘭克．提羅. 《爵士音樂史》. 顧連理譯. 台北：世界文物，1998. 大衛．巴薩米安. 《文化與抵抗：愛德華．薩依德最後訪談錄》. 梁永安譯. 台北：立緒，2004. 尚．布希亞. 《物體系》. 林志明譯. 台北：時報，1997. 李有成. 《踰越：非裔美國文學與文化批評》. 台北：允晨，2007. 廖炳惠. ＜帝國、性別、階級與敘事體：由狄福到柯特吉的魯賓遜漂流記＞. 《英美文學評論》. 台北：中華民國英美文學學會，1995. 劉康. ＜對話的喧聲：巴赫汀文化理論評述＞. 台北：麥田，1998. 陳靜瑜. 《美國族群史》. 台北：國立編譯館，2006. 宋國誠.《後殖民論述－從法農到薩依德》. 台北：擎松，2003. 王秋海.《爵士樂》. 台北：揚智文化，1997. | |
| dc.identifier.uri | http://tdr.lib.ntu.edu.tw/jspui/handle/123456789/27449 | - |
| dc.description.abstract | 本篇論文以非裔美國劇作家奧古斯特．威爾森（August Wilson）的廿世紀連環劇（twentieth-century cycle）為研究對象，總共包含連環劇裡的十部戲劇文本：《芮妮夫人的黑屁股》（Ma Rainey’s Black Bottom，1985）、《籬笆》（Fences，1986）、《喬．透納來過又走了》（Joe Turner’s Come and Gone，1988）、《鋼琴課》（The Piano Lesson，1990）、《兩列奔馳的火車》（Two Trains Running，1992）、《七把吉他》（Seven Guitars，1996）、《金．海德利二世》（King Hedley II，2001）、《靠行計程車》（Jitney，2003）、《海洋寶石號》（Gem of the Ocean，2004）、《廣播高爾夫》（Radio Golf，2005）。研究內容將從戲劇史、再現以及後殖民理論等三個面向，去分別檢視威爾森的戲劇內涵與寫作成果。
首先，筆者從劇場史的角度，回顧非裔美國劇場從二０年代以後的發展，並簡介六位非裔美國劇作家的創作理念、風格與技法，去檢視威爾森的劇作是否與其前輩有任何傳承與創新之處；其次，從「雙重意識」、「集體記憶」等論點出發，檢驗威爾森是否達成原始的創作初衷──再現非裔美國經驗，並闡述威爾森「一個年代一部戲」的方式，究竟再現了何種非裔美國經驗；最後，則以後殖民文學理論去驗證威爾森的戲劇確屬後殖民劇場無虞，並分析他的後殖民書寫策略及其後殖民書寫成果。 | zh_TW |
| dc.description.provenance | Made available in DSpace on 2021-06-12T18:05:23Z (GMT). No. of bitstreams: 1 ntu-97-R92129003-1.pdf: 2577773 bytes, checksum: 36906a32ed85ed67046140e0d0ea90a2 (MD5) Previous issue date: 2008 | en |
| dc.description.tableofcontents | 第一章 緒論…1
1-1 研究動機…1 1-2 文獻回顧與整理…4 1-3 研究範圍與研究方法…7 第二章 威爾森在非裔美國劇場中的傳承與創新…11 2-1 哈林文藝復興的劇場先鋒：理查森與艾德蒙…14 2-2 擁抱庶民藝術：休斯與漢絲貝瑞…18 2-3 黑人藝術運動的激進分離主義：瓊斯與布林斯…22 2-4 非洲根源與藍調劇場：威爾森…26 第三章 威爾森的世紀連環劇：非裔美國經驗的再現…33 3-1 曾經的囚徒：非裔美國人的苦難與創傷…40 3-2 流亡的邊界：非裔美國人的疏離與放逐…45 3-3 意識的音符：非裔美國人的藍調憂傷…52 第四章 威爾森的後殖民劇場書寫…63 4-1 黑人英語：在地化語言的反撲…69 4-2 關於那群瘋子和他們的故事…76 4-3 勾結白人Vs. 歸航中心…83 第五章 結語…89 5-1 威爾森的爭議與矛盾…90 5-2 研究威爾森戲劇主題的其他方向…95 引用書目…97 附錄 威爾森作品年表與得獎紀錄…103 | |
| dc.language.iso | zh-TW | |
| dc.subject | 非裔美國經驗 | zh_TW |
| dc.subject | 奧古斯特．威爾森 | zh_TW |
| dc.subject | 薩依德 | zh_TW |
| dc.subject | 巴巴 | zh_TW |
| dc.subject | 藍調 | zh_TW |
| dc.subject | 美國黑人 | zh_TW |
| dc.subject | 黑人美學 | zh_TW |
| dc.subject | 非裔美國劇場 | zh_TW |
| dc.subject | 連環劇 | zh_TW |
| dc.subject | 再現 | zh_TW |
| dc.subject | 後殖民 | zh_TW |
| dc.subject | 黑人英語 | zh_TW |
| dc.subject | 歸航 | zh_TW |
| dc.subject | 流亡 | zh_TW |
| dc.subject | 勾結 | zh_TW |
| dc.subject | collaboration | en |
| dc.subject | August Wilson | en |
| dc.subject | Edward Said | en |
| dc.subject | Homi K. Bhabha | en |
| dc.subject | the blues | en |
| dc.subject | Century Cycle | en |
| dc.subject | black aesthetics | en |
| dc.subject | African-American experience | en |
| dc.subject | postcolonial | en |
| dc.subject | post-colonial | en |
| dc.subject | AAE | en |
| dc.subject | racial madness | en |
| dc.subject | voyage in | en |
| dc.subject | exile | en |
| dc.title | 滄桑的藍調劇場：奧古斯特．威爾森的世紀連環劇與後殖民書寫 | zh_TW |
| dc.title | Theatre of the Blues: August Wilson's Century Cycle and His Post-colonial Writing | en |
| dc.type | Thesis | |
| dc.date.schoolyear | 96-1 | |
| dc.description.degree | 碩士 | |
| dc.contributor.oralexamcommittee | 劉雪珍,姜翠芬 | |
| dc.subject.keyword | 奧古斯特．威爾森,薩依德,巴巴,藍調,美國黑人,黑人美學,非裔美國劇場,連環劇,非裔美國經驗,再現,後殖民,黑人英語,歸航,流亡,勾結, | zh_TW |
| dc.subject.keyword | August Wilson,Edward Said,Homi K. Bhabha,the blues,Century Cycle,black aesthetics,African-American experience,postcolonial,post-colonial,AAE,racial madness,voyage in,exile,collaboration, | en |
| dc.relation.page | 102 | |
| dc.rights.note | 有償授權 | |
| dc.date.accepted | 2008-01-09 | |
| dc.contributor.author-college | 文學院 | zh_TW |
| dc.contributor.author-dept | 戲劇學研究所 | zh_TW |
| Appears in Collections: | 戲劇學系 | |
Files in This Item:
| File | Size | Format | |
|---|---|---|---|
| ntu-97-1.pdf Restricted Access | 2.52 MB | Adobe PDF |
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