請用此 Handle URI 來引用此文件：
http://tdr.lib.ntu.edu.tw/jspui/handle/123456789/34503完整後設資料紀錄
| DC 欄位 | 值 | 語言 |
|---|---|---|
| dc.contributor.advisor | 王寶祥(Pao-Hsiang Wang) | |
| dc.contributor.author | Fei-Pi Liao | en |
| dc.contributor.author | 廖非比 | zh_TW |
| dc.date.accessioned | 2021-06-13T06:12:00Z | - |
| dc.date.available | 2006-02-20 | |
| dc.date.copyright | 2006-02-20 | |
| dc.date.issued | 2006 | |
| dc.date.submitted | 2006-02-17 | |
| dc.identifier.citation | 一、英文書目
Auden, W. H. “A.E. Housman.” Collected Poems. Ed. Edward Mendelson. New York : Vintage International, 1991. 182. Billington, Michael. “Stoppard’s Secret Agent.” Tom Stoppard in Conversation. Ed. Paul Delaney. Michigan: Michigan UP, 1994. 193-198. Brustein, Robert. “Something Disturbingly Voguish and Available.” Ed. T. Bareham, Tom Stoppard: Rosencrantz and Guildenstern Are Dead, Jumpers and Travesties. London: Macmillan, 1990. 93-95. ---. “Intellect Into Passion.” The New Public 212.5 (1995): 30-31. Delaney, Paul. “From Tomas Straussler, enter Sir Tom Stoppard.” The Cambridge Companion to Tom Stoppard. Ed. Katherine E. Kelly. Cambridge: Cambridge UP, 2001. 25-37. Duncan, Joseph E. “Godot Comes: Rosencrantz and Guildenstern Are Dead.” Ariel 12.4 (1986): 57-70. Edwards, Paul. “Science in Hapgood and Arcadia.” The Cambridge Companion to Tom Stoppard. Ed. Katherine E. Kelly. Cambridge: Cambridge UP, 2001. 171-184. Er, Zekiye. “Tom Stoppard, New Historicism, and Estrangement in Travesties.” New Theatre Quarterly 21.3 (2005): 230-240. Esslin, Martin. “Samuel Beckett: The Searching for the Self.” The Theatre of the Absurd. New York: Penguin, 1991. 29-91. Fleming, John. Stoppard’s Theatre: Finding Order amid Chaos. Austin: Texas UP, 2003. Gordon, Giles. “Tom Stoppard.” Tom Stoppard in Conversation. Ed. Paul Delaney. Michigan: Michigan UP, 1994. 15-23. Graves, Richard Perceval. A.E. Housman: The Scholar-Poet. London : Routledge & Kegan Paul, 1979. Gruber, William E. “Artistic Design in ‘Rosencrantz and Guildenstern Are Dead’.” Tom Stoppard. Ed. Harold Bloom. New York: Chelsea House, 1986. 101-117. Guppy, Shusha. “Tom Stoppard: The Art of Theater Ⅶ.” Tom Stoppard in Conversation. Ed. Paul Delaney. Michigan: Michigan UP, 1994. 177-192. Gussow, Mel. Conversations with Stoppard. New York: Grove Press, 1996. Hayman, Ronald. “Interview with Ronald Hayman.” Tom Stoppard: Rosencrantz and Guildenstern are Dead, Jumpers, Travesties : A Casebook. Ed. T. Bareham. Basingstoke : Macmillan, 1990. 27-29. Heuvel, Michael Vanden. “‘Is Postmodernism?’: Stoppard among/against the postmoderns.” The Cambridge Companion to Tom Stoppard. Ed. Katherine E. Kelly. Cambridge: Cambridge UP, 2001. 213-228. Hudson, Roger, Catherine Itzin, and Simon Trussler. “Ambushes for the Audience: Towards a High Comedy of Ideas.” Tom Stoppard in Conversation. Ed. Paul Delaney. Michigan: Michigan UP, 1994. 51-72. Hunter, Jim. “Rosencrantz and Guildenstern Are Dead.” Tom Stoppard. New York: Faber and Faber, 2000. 20-62. Innes, Christopher. “Hapgood – A Question of Gamesmanship?” Modern Drama 32(1989): 315-317. Jenkins, Anthony. The Theater of Tom Stoppard. London: Cambridge UP, 1987. Mendelsohn, Daneil. “The Tale of Two Housmans.” New York Review of Books 47.13 (2000): 58-65. ---. “‘The Invention of Love’: An Exchange – Reply.” New York Review of Books 47.14 (2000): 104-105. ---. “‘The Invention of Love’: Another Exchange – Reply.” New York Review of Books 47.16 (2000): 64-65. Mondello, Bob. “‘Love’ Has 2 Faces.” American Theatre 18.7(2001): 76-78. Nadel, Ira B. Tom Stoppard: A Life. New York : Palgrave Macmillan, 2002. ---. “Writing the Life of Tom Stoppard.” Journal of Modern Literature 27 (Winter 2004): 19-29. O’Connor, Thomas. “Welcome to the World of Tom Stoppard.” Tom Stoppard in Conversation. Ed. Paul Delaney. Michigan: Michigan UP, 1994. 225-230. Page, Malcolm, ed. File on Stoppard. New York: Methuen, 1986. Rusinko, Susan. “A Bounced Czech.” Tom Stoppard. Boston: Twayne Publishers, 1986. 1-5. Schiff, Stephen. “Full Stoppard.” Tom Stoppard in Conversation. Ed. Paul Delaney. Michigan: Michigan UP, 1994. 212-224. Shakespeare, Williams. Hamlet, Prince of Denmark. Ed. Philip Edwards. Cambridge: Cambridge UP, 1985. Stoppard, Tom. Rosencrantz and Guildenstern Are Dead. London: Faber and Faber, 1968. ---. The Invention of Love. London: Faber and Faber, 1998. ---. Hapgood. Plays Five. London: Faber and Faber, 1999. ---. “‘The Invention of Love’: An Exchange.” New York Review of Books 47.14 (2000): 103-104. ---. “‘The Invention of Love’: Another Exchange.” New York Review of Books 47.16 (2000): 64. Tynan, Kenneth. “Withdrawing with Style from the Chaos.” New Yorker 53.44 (1977): 41-111. Whitaker, Thomas R. “Playing Our Absence.” Tom Stoppard. London and Basingstoke: Macmillan, 1983. 37–67. White, Hayden. Tropics of Discourse: Essays in Cultural Criticism. Baltimore : Johns Hopkins UP, 1978. Zeifman, Hersh. “Tomfoolery: Stoppard’s Theatrical Puns.” Modern British Dramatists: New Perspectives. New Jersey: Prentice-Hall, 1984. 85-108. ---. “A Trick of Light: Tom Stoppard’s Hapgood and Postabsurdist Theater.” Around the Absurd : Essays on Modern and Postmodern Drama. Ed. Enoch Brater and Ruby Cohn. Ann Arbor : University of Michigan Press, 1990. 175-201. ---. “The Comedy of Eros: Stoppard in Love.” The Cambridge Companion to Tom Stoppard. Ed. Katherine E. Kelly. Cambridge: Cambridge UP, 2001. 185-200. Zinman, Toby Silverman. “Blizintsy/Dvojniki, Twins/Doubles, Hapgood/Hapgood.” Modern Drama 34.2 (June 1991): 312-321. 二、中文書目 王德威 翻譯、導讀。《知識的考掘》。米歇•傅柯(Michel Foucault)。台北：麥田，1993。 周兆祥。《漢譯哈姆雷特研究》。香港：中文大學出版社，1981。 三、網路資料 Conrad, Peter. “Thomas the Think Engine.” The Observer. 1 Nov. 1998. 5 Dec. 2005 <http://observer.guardian.co.uk/review/story/0,6903,726582,00.html>. Higgins, Charlotte. “New Plays by Stoppard and Hare to mark 50 years of the Royal Court.” The Guardian. 12 Oct. 2005. 15 Dec. 2005 < http://www.guardian.co.uk/ arts/news/story/0,,1590105,00.html>. Zinman, Toby. “Knowledge is Power.” Philadelphia Citypaper.net. 13-20 Jan. 2000. 1 Dec. 2005 <http://citypaper.net/articles/011300/feat.cov.theater.shtml>. Zizka, Blanka and Tom Stoppard. “A Conversation with Tom Stoppard: A Wilma Theater Symposium.” The Wilma Theater’s The Invention of Love Website. Trans. Carrie Ryan. 4 Dec. 1999. 29 Nov. 2005 <http://www.wilmatheater.org/ productions/inventionoflove/news_dec4_transcript.html>. “And Now, the Real Thing.” The Guardian. 22 June 2002. 15 Aug. 2005 <http://books.guardian.co.uk/review/story/0,12084,741378,00.html>. “The John Tusa Interview Archive.” BBC Radio 3. 15 Sep. 2005 <http://www.bbc.co.uk/radio3/speechanddrama/audioarchive.shtml>. | |
| dc.identifier.uri | http://tdr.lib.ntu.edu.tw/jspui/handle/123456789/34503 | - |
| dc.description.abstract | 英國當代劇作家湯姆•史達帕的作品中不時出現雙重這個主題，從他職業生涯早期的《羅增侃與紀思騰已死》到《諜變》，或者是近期的《愛的創造》都可見到。在《羅增侃與紀思騰已死》中，羅增侃和紀思騰兩者角色性格模糊，而且時常發生身份混淆、錯置的情況；1988年的《諜變》，史達帕透過量子物理學的概念，結合間諜生活的情節背景，更是把雙重性這個主題發揮得淋漓盡致，反映出人性的多重可能；而近期的《愛的創造》則是藉由兩個時期的霍斯曼來表現他同時兼具學者和詩人的不同面向，以及生命中對於自由跟抑制兩種選擇的拉鋸與對話。在這三個作品中所呈現的雙重性，也透露出各個角色間對於個人身份認同微妙的焦慮、曖昧和不確定感。除了文本情節和角色設計外，見長於舞台性的史達帕更透過劇本結構加強他想傳達的概念。
為史達帕作傳的艾洛•內荳將史達帕作品中的雙重性視為他個人生命兼具英國人和捷克人、非猶太人和猶太人、舞台劇作家和銀幕劇作家雙重身份的反射映照，內荳並將此稱為他的「雙重扮演」，而我們也可以從史達帕的訪談中找到他對此的一些概念。本論文將以雙重為核心探討史達帕的作品以及其獨特的雙重思維及脈絡，並希望藉此探究以下三個議題：史達帕劇中這些角色究竟在雙重的概念上呈現出何種樣貌？同時向來見長於舞台性的史達帕又怎麼透過戲劇策略加強他想傳達的概念？以及史達帕個人背景是如何反映在他的作品，而兩者之間究竟又產生何種連結？ | zh_TW |
| dc.description.provenance | Made available in DSpace on 2021-06-13T06:12:00Z (GMT). No. of bitstreams: 1 ntu-95-R90129010-1.pdf: 708681 bytes, checksum: bafd5db25e7ec5915904c32a38278bc0 (MD5) Previous issue date: 2006 | en |
| dc.description.tableofcontents | 第一章 緒論 --------------------------------------------------------------------------------- 1.
第一節 劇作家個人跨文化�領域的背景-----------------------------------------1. 一、從湯瑪斯•史托斯勒到湯姆•史達帕------------------------------------2. 二、「他者」身份的弔詭-------------------------------------------------------------3. 三、史達帕個人及作品的雙重意識--------------------------------------------6. 第二節 論文架構-----------------------------------------------------------------------8. 第二章 雙聲脈絡的角力與對話：《羅增侃與紀思騰已死》------------------------- 10. 第一節 羅增侃、紀思騰的雙重意象及認同問題------------------------------ 11. 一、羅增侃與紀思騰的雙重意象-----------------------------------------------11. 二、羅增侃、紀思騰身份的不確定----------------------------------------------18. 第二節 史達帕的戲劇策略----------------------------------------------------------28. 一、 古典與現代的對話----------------------------------------------------------29. 二、 劇作家個人的文字雙聲遊戲----------------------------------------------32. 小結----------------------------------------------------------------------------------------37. 第三章 科學與人性的辯證展演：《諜變》-----------------------------------------------38. 第一節 間諜與科學世界的對話----------------------------------------------------39. 一、迷離的世界•科學的實驗•遊戲的舞台-----------------------------------39. 二、角色的雙重意象--------------------------------------------------------------44. 三、 多重身份及認同問題-------------------------------------------------------49. 第二節 史達帕的戲劇策略----------------------------------------------------------52. 一、 劇情背景設定----------------------------------------------------------------53. 二、 對稱的戲劇結構-------------------------------------------------------------54. 三、 雙重的文字密碼-------------------------------------------------------------56. 小結----------------------------------------------------------------------------------------58. 第四章 歷史與諧擬的對話空間：《愛的創造》---------------------------------------59. 第一節 生命選擇的拉鋸與對話----------------------------------------------------60. 一、兩個霍斯曼--------------------------------------------------------------------60. 二、霍斯曼與王爾德--------------------------------------------------------------67. 三、生命的選擇及身份的認定--------------------------------------------------70. 第二節 真實歷史與創作諧擬的雙重映照----------------------------------------73. 第三節 史達帕的戲劇策略----------------------------------------------------------77. 小結----------------------------------------------------------------------------------------79. 第五章 結論 --------------------------------------------------------------------------------81. 第一節 史達帕劇作中持續扮演的同卵雙生-------------------------------------81. 第二節 史達帕劇作中相互辯證的戲劇脈絡-------------------------------------83. 第三節 史達帕的戲劇哲學與其個人生命的相互映照-------------------------86. 引用書目----------------------------------------------------------------------------------------90. | |
| dc.language.iso | zh-TW | |
| dc.subject | 戲劇策略 | zh_TW |
| dc.subject | 史達帕 | zh_TW |
| dc.subject | 雙重性 | zh_TW |
| dc.subject | 角色 | zh_TW |
| dc.subject | 身份 | zh_TW |
| dc.subject | 認同 | zh_TW |
| dc.subject | 雙重扮演 | zh_TW |
| dc.subject | identity | en |
| dc.subject | double act | en |
| dc.subject | Stoppard | en |
| dc.subject | doubleness | en |
| dc.subject | character | en |
| dc.subject | strategy | en |
| dc.title | 史達帕《羅增侃與紀思騰已死》、《諜變》與《愛的創造》的雙重性 | zh_TW |
| dc.title | Tom Stoppard’s Doubleness: Rosencrantz and Guildenstern Are Dead, Hapgood, and The Invention of Love | en |
| dc.type | Thesis | |
| dc.date.schoolyear | 94-1 | |
| dc.description.degree | 碩士 | |
| dc.contributor.oralexamcommittee | 邱錦榮,姜翠芬 | |
| dc.subject.keyword | 史達帕,雙重性,角色,戲劇策略,身份,認同,雙重扮演, | zh_TW |
| dc.subject.keyword | Stoppard,doubleness,character,strategy,identity,double act, | en |
| dc.relation.page | 94 | |
| dc.rights.note | 有償授權 | |
| dc.date.accepted | 2006-02-17 | |
| 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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