請用此 Handle URI 來引用此文件:
http://tdr.lib.ntu.edu.tw/jspui/handle/123456789/57136
完整後設資料紀錄
DC 欄位 | 值 | 語言 |
---|---|---|
dc.contributor.advisor | 高維泓(Wei Hong Kao) | |
dc.contributor.author | Yi-ting Wang | en |
dc.contributor.author | 王羿婷 | zh_TW |
dc.date.accessioned | 2021-06-16T06:35:51Z | - |
dc.date.available | 2014-08-08 | |
dc.date.copyright | 2014-08-08 | |
dc.date.issued | 2014 | |
dc.date.submitted | 2014-08-01 | |
dc.identifier.citation | Works Cited
Aretxaga, Begoña. Shattering Silence: Women, Nationalism, and Political Subjectivity in Northern Ireland. Pinceton: Princeton UP, 1997. Print. DiCenzo, Maria R. “Charabanc Theatre Company: Placing Women Center-Stage in Northern Ireland.” Theatre Journal 45.2 (1993):175-184. Print. Fairweather, Eileen. Roisin McDonough and Melanie McFadyean. “The cover of the wins of the Almighty Jehovah: Protestant women in Belfast.” Only the Rivers Run Free: Northern Ireland, the Women’s War. London: Pluto Press, 1984. 266-343. Print. Foley, Imelda. “Christina Reid: In the Company of Women.” The Girls in the Big Picture: Gender in Contemporary Ulster Theatre. Belfast: Blackstaff Press, 2003. 58-70. Print. Graham, Colin. “Subalternity and Gendr: Problems of Post-colonial Irishness.” Journal of Gender Studies 5.3 (1996): 363-73. Print. Gramsci, Antonio. Selections from the Prison Notebooks. Durham: Duke UP, 2007. Print. Grassi, Samuele. Looking Through Gender: Post-1980 British and Irish Drama. Newcastle upon Tyne: Cambridge Scholars Pub., 2011. Print. Harris, Claudia W. “Inventing Women’s Work: the Legacy of the Charabanc Theatre Company.” Four plays by the Charabanc Theatre Company : inventing women's work. Buckinghamshire: Colin Smythe, 2006. Print. Herbert, Michael. “Across the Great Divide.” The Irish Post 22 (1990): 4. Hinds, Bronagh. “Women Working for Peace in Northern Ireland.” Contesting Politics: Women in Ireland, North and South. Ed. Yvonne Galligan, Eilis Ward, Rick Wilford. Boulder, CO: Westview Press, 1999. 109-26. Print. Jones, Marie. Now You’re Takin’. Four Plays by the Charabanc Theatre Company: Inventing Women’s Work. Ed. Claudia W. Harris. Gerradrds Cross, Buckinghamshire: Colin Smythe, 2006. Print. ---. Somewhere Over the Balcony. Postcolonial Plays: an Anthology. Ed. Helen Gilbert. London: Routledge, 2001. Print. Kurdi, Maria. “Interview with Christina Reid.” The Brazilian Journal of Irish Studies. 6 (2004): 207-16. Print. Lejok, Helen. “Seeding new writing, seeking more analysis: Belfast’s Charabanc Theatre Company.” Irish Studies Review 2.8 (1994): 30-34. Print. Lynch, Martin. “‘That’s Not Theatre, Love!’ The Lay Up Your Ends Experience” Palmer, Richard. Ed. Lay Up Your Ends: a Twenty-Fifth Anniversary Edition. Belfast: Lagan, 2008. Print. Lyons. F.S.L. “Ulster: the Roots of Difference.” Culture and Anarchy in Ireland, 1890-1939. Oxford: Oxford UP, 1982. Print. Macbeth, Georgia. A Plurality of Identities: Ulster Protestantsim in Contemporary Northern Irish Drama. Diss. U of New South Wales, 1999. Martin, Carol. “Charabanc Theatre: ‘Quare’ Women ‘Sleggin’ and ‘Geggin’ the Standards of Northern Ireland by ‘Tappin’ the People: Interview with Marie Jones.” The Drama Review 31.2 (1987): 88-99. Maxwell, D.E.S. “Northern Ireland’s Political Drama.” Modern Drama 33 (1990):2. McDonough, Carla J. “I’ve Never Been Just Me: Rethinking Women’s Positions in the Plays of Christina Reid.” A Century of Irish Drama: Widening the Stage. Ed. Stephen Watt, Eileen Morgan, and Shakir Mustafa. Bloomington: Indiana U of P, 2000. 179-92. Print. McGarry, John and Brendan O'Leary. The Politics of Antagonism: Understanding Northern Ireland. London: The Athlone P, 1996. Print. McNulty, Eugene. The Ulster Literary Theatre and the Northern Revival. Cork: Cork UP, 2008. Print. Meaney, Geraldine. “Sex and Nation: Women in Irish Culture and Politics.” A Dozen Lips. Ed. Eavan Boland and Clodagh Corcoran. Dublin: Attic, 1994.188-204. Print. Morris, Catherine. Alice Milligan and the Irish Cultural Revival. Dublin: Four Courts P Ltd, 2012. Print. Papanek, Hanna. “The Ideal Woman and the Ideal Society: Control and Autonomy in the Construction of Identity.” Identity Politics & Women: Cultural Reassertions and Feminisms in International Perspective. Ed. Valentine M. Moghadam. Boulder: West View P, 1993. 42-75. Print. Pelan, Rebecca. Two Irelands: Literary Feminisms North and South. Syracuse: Syracuse UP, 2005. Print. Phelan, Mark. “Beyond the Pale: Neglected Northern Irish Women Playwrights, Alice Milligan, Helen Waddell and Patricia O’Connor.” A Century of Irish Drama: Widening the Stage. Ed. Stephen Watt, Eileen Morgan, and Shakir Mustafa. Bloomington: Indiana U of P, 2000. 109-29. Print. Reid, Christina. Tea in the China Cup. Plays :1/ Christina Reid with an introduction by Maria M. Delgado. London: Metheum Drama, 1997. Print. ---. The Belle of the Belfast City. Plays :1/ Christina Reid with an introduction by Maria M. Delgado. London: Metheum Drama, 1997. Print. Richtarik, Marilynn J. Acting Between the Lines: The Field Day Theatre Company and Irish Cultural Politics 1980–1984. Oxford: Clarendon Press, 1994. Print. Robert, Hogan and James Kilroy, The Irish Literary Theatre, 1899-1901. Dublin: The Dolmen P, 1975. Print. Shannon, Elizabeth. I’m of Ireland: Women of the North Speak Out. Amherst: U of Massachusetts P, 1997. Print. Sloan, Barry. “Some Representations of Protestant Experience: Drama.” Writers and Protestantism in the north of Ireland: Heirs to Adamnation? Dubln: Irish Academic Press, 2000. Print. Spivak, G. Chakravorty. “Can the Subaltern Speak?” Marxism and the Interpretation of Culture. Ed. Cary Nelson and Lawrence Grossberg. Urbana: U of Ellinois P, 1988. 271-313. Print. Sullivan, Megan. Women in Northern Ireland: Cultural Studies and Material Conditions. Gainesville: UP of Florida, 1999. Print. ---. Gendered States: Literature, Film, and Theatre in Northern Ireland. Diss. University of Rhode Island,1995. Trinh T. Minh-ha. When the Moon Waxes Red: Representation, Gender, and Cultural Politics. New York: Routledge, 1991. Print. | |
dc.identifier.uri | http://tdr.lib.ntu.edu.tw/jspui/handle/123456789/57136 | - |
dc.description.abstract | 本論文聚焦於兩位北愛爾蘭女性劇作家:克莉絲娜•瑞德與瑪莉•瓊斯的作品。《瓷杯中的茶》和 《貝爾法斯特的美人》為瑞德從性、婚姻、職涯、宗教、政治面向探討女性自主性的作品。瑪麗瓊絲的《你現在正在說》呈現北愛女性生命的多樣性以及她們如何或強烈或溫和地展現她們之間的差異性。《陽台某處》則是瓊絲以女性觀點,戲謔又諷世地再現北愛麻煩﹝The Troubles﹞。
研究這四部戲劇的其一目的為檢視北愛爾蘭女性如何在一個政治、宗教上都分裂的國度裡對抗父權體系。四部戲劇皆以北愛爾蘭分離主義社會為背景,而此父權掌控的分離主義社會使得北愛女性成為了史匹娃克指出的沉默的弱勢者﹝The silent subaltern﹞。瑞德和瓊絲透過她們的劇本,根據女人們的性格、宗教、政治立場,呈現她們之間的差異性。本論文透過閱讀分析兩位女劇作家的作品,試圖提供觀眾了解北愛爾蘭女性生命經驗的多重途徑。 本論文的第二個目的是透過詳細研讀瑞德和瓊絲的劇本,了解北愛社會如何在政治動盪之下轉型。女性劇作家的作品傳達出一件事情,那就是北愛社會除了政治和宗教的分裂的問題之外,其他社會問題像是貧窮、失業、不當居住環境、家庭暴力、性別歧視,以及監禁等常常被忽略。因此,本論文透過提出對於瑞德和瓊絲作品中女性經驗多樣性的批判性思考,期許能替北愛社會的各項問題找到「陰性的解決之道」。 | zh_TW |
dc.description.abstract | This thesis focuses on the works of Northern Irish women playwrights – Christina Reid and Marie Jones. Two of their plays are selected respectively. Tea in a China Cup (1983) and The Belle of the Belfast City (1987) are Reid’s interrogation of women’s autonomy in terms of sexuality, marriage, career, religion and political stance. Marie Jones’s 1985 work Now You’re Talkin’ exhibits the multiplicity of Northern Irish women’s lives and how they either vociferously or modestly demonstrate their differences. Somewhere Over the Balcony (1987) is Jones’s farcical yet somehow cynical representation of Northern Irish Troubles from female perspectives.
The first purpose of studying these plays is to examine how these women attempt to counteract male aspirations in a politically and religiously divided society. The selected plays for this thesis are set within the Troubles context of Northern Ireland in which the male-presided sectarianism renders Northern Irish women the silent subaltern. In Reid’s and Jones’s plays, a multitude of women are illustrated with regards to their various personalities, religions, political stances, and life experiences. The examination of their plays offers the audience alternative ways to understand Northern Irish women’s experiences other than those of being mothers, daughters, sisters, and wives in a highly patriarchal and militant society. The second purpose of this study is to demonstrate how Northern Irish society transforms through political upheavals by studying Reid’s and Jones’s plays in detail. Works by women playwrights reveal that, besides the political and religious divisions that have received almost the entire spotlight of the media since the 1960s (the time when the Troubles began), other social problems such as poverty, unemployment, inadequate housing, domestic abuse, sexuality, and incarceration are largely ignored. Therefore, this study aims to provide a critical analysis of Reid’s and Jones’s works, in which the diverse experiences of Northern Irish women are presented, in the hope of coming to “feminine solution(s)” to the social problems, religious sectarianism as well as other issues concerning women’s (and men’s) lives in Northern Ireland. This thesis examines how gender, particularly female, is presented in the plays by two Northern Irish female playwrights. One of the aims is, through the reading of Reid’s and Jones’s dramas, to study how women conspire yet often attempt to resist the patriarchal and sectarian culture of Northern Ireland. The second aim is to reveal, within the male-dominated, sectarian cultural context, how these two female playwrights theatrically construct the autonomy of women through their stories so as to subvert the convention in which most women are forced to locate themselves in the periphery of Northern Irish politics. | en |
dc.description.provenance | Made available in DSpace on 2021-06-16T06:35:51Z (GMT). No. of bitstreams: 1 ntu-103-R99122017-1.pdf: 310248 bytes, checksum: 9ddba77cd6a64f0560111d4df8ae1767 (MD5) Previous issue date: 2014 | en |
dc.description.tableofcontents | Table of Contents
Acknowledgements………………………………………………………………....... .i Abstract……………………………………………………………………………….iii Introduction Goals of the Study………………………………………………………………1 The Sectarianism and the Troubles in Northern Ireland………………………. 3 The Male-dominated Irish Theatre Culture……………………………………. 6 Alice Milligan: A Female Predecessor………………………………………… 8 The Silenced Legacy…………………………………………………………. 11 The Exploration and Representation of Women’s Experiences……………… 13 Northern Irish Women as the Subaltern……………………………………… 21 Chapter One “I’ve never been just me”: the repression of female sexuality reconsidered in the plays of Christina Reid and Marie Jones…………………………………………………………………………………25 The Victim and Perpetrator of the Female-repressed Culture……………….. 31 Tea in a China Cup and the Belle of the Belfast City: the Critique of Cultural Repression on Female Sexuality…………………………………………….. 36 Somewhere Over the Balcony: the Subversion of the Repressed…………......44 Chapter Two The Polyvocality of Northern Irish Women…………………………48 The Subaltern: the Concept…………………………………………………. 51 Women as the Subaltern: the Implicit Feminist Consciousness…………….. 52 The Belle of the Belfast City: Questioning Ulster Protestant Identity………. 55 Now You’re Talkin’: Reconciliation Possible?..................................................63 Somewhere Over the Balcony: Catholic Women in the North Speaking…… 72 Conclusion Women’s Resilience: Feminine Solutions…………………………………………. 79 | |
dc.language.iso | en | |
dc.title | 克莉絲娜 瑞德與瑪莉 瓊斯劇作中之北愛女性與族群議題 | zh_TW |
dc.title | Northern Irish Women and Sectarianism in Christina Reid's and Marie Jones's Dramas | en |
dc.type | Thesis | |
dc.date.schoolyear | 102-2 | |
dc.description.degree | 碩士 | |
dc.contributor.oralexamcommittee | 張崇旂(Tsung Chi Chang),楊意鈴(Yi-ling Yang) | |
dc.subject.keyword | 克莉絲娜‧瑞德,瑪莉‧瓊斯,北愛麻煩,分離主義,女人,弱勢者,自主性,多樣性, | zh_TW |
dc.subject.keyword | Christina Reid,Marie Jones,the Troubles,sectarianism,women,the subaltern,autonomy,multiplicity, | en |
dc.relation.page | 87 | |
dc.rights.note | 有償授權 | |
dc.date.accepted | 2014-08-01 | |
dc.contributor.author-college | 文學院 | zh_TW |
dc.contributor.author-dept | 外國語文學研究所 | zh_TW |
顯示於系所單位: | 外國語文學系 |
文件中的檔案:
檔案 | 大小 | 格式 | |
---|---|---|---|
ntu-103-1.pdf 目前未授權公開取用 | 302.98 kB | Adobe PDF |
系統中的文件,除了特別指名其著作權條款之外,均受到著作權保護,並且保留所有的權利。