請用此 Handle URI 來引用此文件：
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| DC 欄位 | 值 | 語言 |
|---|---|---|
| dc.contributor.advisor | 楊建章(Chien-Chang Yang) | |
| dc.contributor.author | Chia-Ling Chou | en |
| dc.contributor.author | 周佳玲 | zh_TW |
| dc.date.accessioned | 2021-06-16T06:43:11Z | - |
| dc.date.available | 2015-12-31 | |
| dc.date.copyright | 2014-07-31 | |
| dc.date.issued | 2014 | |
| dc.date.submitted | 2014-07-29 | |
| dc.identifier.citation | 專書
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Birth of a National Icon: The Literary Avant-Garde and the Origins of Intellectual in France. Albany: State University of New York Press, 1999. ---------------. Heros and legends of fin-de siècle France. Cambridge: Cambridge University Press, 2011. Fisher, Burton D.. Lakmé. Coral Gables, FL : Opera Journeys Pub., 2006. Fischer, Jens Malte. “Sprechgesang or Bel Canto: Toward a History of Singing Wagner,” in Wagner Handbook, ed. Ulrich Müller and Peter Wapnewski and trans. John Deathridge. Cambridge: Harvard University Press, 1992. Gellner, Earnest. Nations and Nationalism. Ithaca : Cornell University Press, 1983. Gibson, Ralph. A Social History of French Catholicism 1789-1914. London ; Routledge, 1989. Gildea, Robert. The Past in French History. New Haven and London: Yale University Press, 1994. Gilley, Sheriadan and Brian Stanley, eds. World Christianities: c.1815-1914. Cambridge: Cambridge University Press, 2006. Grout, Donald Jay, J. Peter Burkholder, & Claude V. Palisca, eds. A History of Western Music. New York: W.W. Norton & Company, 2010. Hall, Stuart. Representations. Cultural Representations and Signifying Practices. London: Sage and The Open University, 1997. Head, Matthew. Orientalism, Masqueerade and Mozart’s Turkish Music. London : Royal Musical Association, 2000. Hibberd, Sarah. French Grand Opera and the Historical Imagination. Cambridge: Cambridge University Press, 2009. Hobsbawm, Eric. Nations and nationalism since 1780 : programme, myth, reality. Cambridge: Cambridge University Press, 1990. Holden, Amanda, ed. The New Penguin Opera Guide. London: Penguin Books Ltd., 2001. Howard, Michael Eliot. The Franco-Prussian War: the German invasion of France 1870-1871. London : Routledge, 1991. Huebner, Steven. French Opera at the Fin de Siècle: Wagnerism, Nationalism, and Style. Oxford: Oxford University Press, 1999. Johnson, Victoria, Jane F. Fulcher, and Thomas Ertman, eds. Opera and Society in Italy and France from Monteverdi to Bourdieu. Cambridge: Cambridge University Press, 2007. Kelly, Barbara L.. French Music, Culture, and National Identity, 1870-1939. Rochester, NY : University of Rochester Press, 2008. Kelly, Nigel and Greg Lacey. Modern World History for ORC Specification 1937. Oxford: Heinemann Educational Publishers, 2001. Leoussi, Athena S. Nationalism and Classicism: The Classical Body as National Symbol in Nineteenth-Century England and France. London: Macmillan Press Ltd., 1998. Lindenberger, Herbert. Opera in History: From Monteverdi to Cage. Stanford: Stanford University Press, 1998. Locke, Ralph P.. Musical and Exoticism: Images and Reflections. Cambridge: Cambridge University Press, 2011. Mackenzie, John M.. Orientalism: History, Theory and the Arts. Manchester. Manchester University Press, 1995. Macleod, Jenny, ed. Defeat and Memory: Cultural histories in military defeat in the modern era. New York: Palgrave Macmillan, 2008. Martin, Michaele. Image at War: Illustrated Periodicals and Constructed Nations. Toronto: University of Toronto Press, 2006. Morey, Peter and Alex Tickell, eds. Alternative Indias: Writing, Nation and Communalism. New York: Rodopi, 2005. McClary, Susan. Feminine Endings: Music, Gender and Sexuality. Minneapolis : University of Minnesota Press, 1991. Motyl, Alexander J., ed. Encyclopedia of Nationalism: Fundamental themes. University of Michigan: Academic Press, 2001. Orrey, Leslie. Opera: A Concise History. Thames and Hudson: London, 1987. Orwicz, Michael R. “Nationalism and Representation, in Theory.” In Nationalism and French Visual Culture, 1870-1914, edited by June Hargrove and Neil McWilliam, 9-35. London : Distributed by Yale University Press, 2005. Pasler, Jann. Composing the Citizen. California: University of California Press, 2009. Pavis, Patrice. Dictionary of the Theater: Terms, Concepts and Analysis. Toronto: University of Toronto Press, 1998. Renan, Ernest. “Qu’est-ce qu’une nation?” In Qu’est-ce qu’une nation?: et autres essays politiques, edited Joël Roman. Paris: Presses Pocket, 1992. Rietbergen, Peter. “Singing of Conquest? Opera, History and the Ambiguities of European Imperialism,” in Free Access to the Past: Romanticism, Cultural Heritage and the Nation, edited by Lotte Jensen, Joep Leerssen & Marita Mathijsen. Leiden, The Netherlands: Koninklijke Brill NV, 2010. Rij, Jan Van. Madame Butterfly: Japonisme, Puccini, and the search for the real Cho-Cho-San. Berkele: Stone Bridge Press, 2006. Russel, Mona L., ed. Egypt. California: ABC-CLIO,LLC,2013. Sadie, Julie Anne. Companion to Baroque Music. Berkeley: University of California Press, 1998. Said, Edward. Orientalism. London: Penguin Books, 2003. Samson, Jim, ed. The Cambridge History of Nineteenth-Century Music. Cambridge: Cambridge University Press, 2002. Schwarz, Paul, “Sacred VS Secular Music”, review on Church Music, by Archibald T. Davison. Boston: Harvard University Press, 1952. Shrock, Dennis. Choral Repertoire. Oxford: Oxford University Press, 2009. Smith, Anthony D.. Nationalism and Modernism. London: Rougledge, 1998. Smith, Richard Langham and Caroline Potter, eds. French Music since Berlioz. Burlington: Ashgate Publishing Company, 2006. Strunk, Oliver. Source Readings in Music History. W.W. Notorn& Company: New York, 1998. Taylor, Timothy Dean. Beyond exoticism : western music and the world. Durham : Duke University Press, 2007. Varley, Karine . “The taboos of defeat : Unmentionable memories of the Franco-Prussian war in France, 1870-1914.” In Defeat and Memory: cultural history of military defeat in the modern era, edited by Jenny Macleod,62-80. Basingstoke: Palgrave Macmillan, 2008. Wallbank, Thomas Walter and Arnold Fletcher. Living World History. 1985. Wawro, Geoffrey. The Franco-Prussian War: The German conquest of France in 1870-1871. Cambridge: Cambridge University Press, 2003. White, Harry and Michael Murphy, eds. Musical Constructions of Nationalism: Essays on the History and Ideology of European Musical Culture 1800-1945. Cork: Cork University Press, 2001. Wicks, Rodney. Words of a Demented Wiseman. Houston: Strategic Book Publishing, 2013. Williams, Bernard. On Opera. New Haven: Yale University Press, 2006. 期刊論文 Bowlby, Rachel. “ The Feminine Female.” Social Text, No. 7 (Spring-Summer, 1983),pp.54-68. Capdevila, Luc. “The quest for masculinity in a defeated France 1940-1945.” Contemporary European History 10, no.3(2001). Hussey, Dyneley. “Nationalism and Opera.” Music & Letters 7, no. 1 (1926): 3-16. Locke, Ralph P.. “Beyond the Exotic: How ‘Eastern’ is Aida?” Cambridge Opera Journal 17, no. 2 (2005):105-139. -------------------- “Constructing the Oriental ‘Other’: Saint-Saëns’s “Samson et Dalila.”” Cambridge Opera Journal 3, no. 3 (1991):261-302. ------------------- “Reflections on Orientalism in Opera and Musical Theater.” The Opera Quarterly 10, no. 1(1993):48-64. Mahrt, William Peter. “Gregorian Chant as a Fundamentum of Western Musical Culture: An Introduction to the Singing of a Solemn High Mass,” Bulletin of the American Academy of Arts and SciencesVol. 33, No. 3 (Dec., 1979), pp. 22-34 Patrick, Jonathan. “Maupassant’s Men: Masculinity and the Franco-Prussian War.” Fin de Siécle (2003):17. Pétridis, Pétro J..”The European War and its Influence on the Evolution of Musical Tendencies in France.” The Musical Times 57, No. 875 (Jan. 1, 1916):12-17. Pratt, Michael. “A Fallen Idol: the Impact of the Franco-Prussian War on the Perception of British Intellectuals.” The International History Review 7, no. 4 (1985):543-575. Scott, Derek B.. “Orientalism and Musical Style.” The Musical Quarterly 82, no.2 (1998):309-335. 博士論文 Floyd, Phylis Anne. “Japonisme’ in Context: Documentation. Criticism, Aesthetic Reactions.” PhD. diss., University of Michigan, 1983. Raymond, Dora Neill. “British Policy and Opinion during the Franco-Prussian War.” Ph.D. diss., Columbia University, 1921. 網路資料 Historique de la Société Nationale de Musique (1871-1939) (Accessed January 16,2013) <http://mediatheque.ircam.fr/HOTES/SNM/SNMhist.html> IMSLP, Petrucci Music Library < http://imslp.org/> (Accessed 27 October 2012) Locke, Ralph P.. “Orientalism,” Grove Music Online. Ed. L. Macy (Accessed 19 November2012), <http://www.oxfordmusiconline.com/subscriber/article/grove/music/40604?q=orientalism&search=quick&pos=1&_start=1#firsthit> Leoussi, Athena S.. “Nationalism,” Blackwell Encyclopedia of Sociology. Ed. George Ritzer (Accessed 3 November 2012) <http://www.blackwellreference.com/subscriber/uid=896/tocnode?id=g9781405124331_chunk_g978140512433120_ss1-4> Sadler, Graham. “Les Inde galantes,” Grove Music online Ed.L. Macy (Accessed 18 August 2013) <http://www.oxfordmusiconline.com/subscriber/article/grove/music/O005181?q=Les+Ind> 樂譜 Delibes, Léo. Lakmé. Auguste Bazille, arranged. Paris: Heugel &Fils, 1883.(From IMSLP, Petrucci Music Library< http://imslp.org/>) Massenet, Jules. Thaïs. Léon Roques, arranged. Paris: Heugel &Fils,1894. (From IMSLP, Petrucci Music Library< http://imslp.org/>) Saint-Saëns, Charles-Camille. La Princesse Jaune. Paris: Durand & Fils, 1906. (From IMSLP, Petrucci Music Library< http://imslp.org/>) | |
| dc.identifier.uri | http://tdr.lib.ntu.edu.tw/jspui/handle/123456789/57364 | - |
| dc.description.abstract | 在1870-1871年普法戰爭對德國和法國有很大的影響。德國從戰爭中獲益而建立了第二帝國；而法國則割讓給普魯士阿爾薩斯 - 洛林的領土。這樣一個大的崩潰質疑法國作為一個民族國家的身份，並威脅法國國家形象被女性化。因此，為法國重新定位自己以及尋找集體認同的民族主義精神成為當務之急。根據Annegret Fauser的歷史研究，法國對尋找身分認同的嘗試之一是“ 雄性化 ”法國文化。因此，愛國歌曲和愛國的聲樂作品，成為在普法戰爭後，法國強調他們的陽剛氣質的手段。另一種嘗試是用性別區分「自我」和「他者」：簡單地說，這種嘗試把東方女性化後而隨之被代表雄性的西方所征服。這個現象證明薩義德的論點，「東方主義[被認為]為一個西方式的支配，重組和施予權力於東方。」在這同時，有相當數量的法國東方主義歌劇出現，而且數量上超過那些在普法戰爭之前。本論文論述的重點在於這些東方主義歌劇出現反映了普法戰後在法國所形成的愛國主義。藉由舉出德利伯的《拉克美》、馬斯奈的《泰綺思》和 聖桑的《黃膚公主》為例，本論文想指出，法國的東方歌劇積極參與上述的企圖：性別化「自我」和「他者」。本文陳述了在音樂上，普法戰爭後，法國是如何區別「自我」與「他者」；而法國的民族主義又是如何轉移成用陽剛的「自我」征服女性化的「他者」；最後討論這些現象又是如何呈現在普法戰爭後的東方歌劇裡。 | zh_TW |
| dc.description.abstract | The Franco-Prussian war in 1870-1871 brought a great impact on both Germany and France. Germany benefited from the war the establishment of the Second Empire while France was taken the territory of Alsace-Lorraine by Prussia. Such a great debacle challenged France’s identity as a nation-state and threatened the French national image to be feminized. Thus, it became a central preoccupation for the French to find a means to re-orient their collective identity in a nationalist spirit. According to Annegret Fauser’s historical research, one of the identity-searching attempts was to ‘masculinise’ the French culture. Accordingly, patriotic songs and patriotic choice of subjects for vocal music emerged as to respond the Franco-Prussian War by emphasizing their masculine qualities. A further attempt was to differentiate ‘self’ and ‘Other’ in gender terms: Simply put, this attempt feminizes the Orient to be conquered by the West, e.g., the French; it testifies Edward Said’s thesis that “Orientalism [is seen] as a Western style for dominating, restructuring, and having authority over the Orient.” After the Franco-Prussian War, a considerable number of French oriental operas emerged and they outnumbered those before the war since this genre was cradled at the beginning of 19th century. By citing examples from Léo Delibes’ Lakmé, Jules Massenet’s Thaïs and Charles-Camille Saint-Saëns’ La Princesse Jaune, this paper argues that French oriental operas actively participated the aforementioned attempts by gendering the self and the Other. This paper demonstrates how musically, after the Franco-Prussian War, French nationalism was translated into French oriental operas by affirming the masculine ‘self’ that conquers the feminine ‘Other’. | en |
| dc.description.provenance | Made available in DSpace on 2021-06-16T06:43:11Z (GMT). No. of bitstreams: 1 ntu-103-R97144005-1.pdf: 18986442 bytes, checksum: 0d54e39c75b168e8cac52aeb654aed4d (MD5) Previous issue date: 2014 | en |
| dc.description.tableofcontents | 目次
口試委員審定書 # 目次 II 致謝 VII 摘要 IX ABSTRACT X 第一章 緒論 1 第一節 研究動機 1 第二節 文獻回顧 5 第三節 普法戰爭、國家主義、自我認同與雄性氣慨 9 第四節 研究方法與論文架構 16 第二章 東方主義歌劇與東方主義 17 第一節 17到19世紀的東方主義歌劇劇情與音樂以及它們和薩伊德的東方主義的關係 17 第二節 19世紀普法戰爭前後東方主義歌劇剖析 22 第三章 德利伯的《拉克美》、馬斯奈的《泰綺絲》和聖桑的《黃膚公主》與東方主義和法國國家主義的關係與音樂分析 30 第一節 《拉克美》、《泰綺思》、《黃膚公主》和薩伊德《東方主義》以及普法戰爭後的法國國家主義的關係 32 第二節 音樂分析：「自我」與「他者」的區別 35 自我的界定 35 自我和他者的區別 39 《拉克美》 40 《泰綺思》 44 《黃膚公主》 58 小結 60 第三節 西方男性征服東方女性 61 《拉克美》 61 《泰綺思》 67 小結 71 第四章 結論 72 附錄一 74 《拉克美》、《泰綺思》、《黃膚公主》歌劇背景和劇情簡介 74 附錄二 譜例 82 譜例2 LAKMÉ, ACT I, NO. 3 QUINTET AND COUPLETS (英國人們說著各地的女人不同) 82 譜例3 LAKMÉ, ACT I, NO. 3 QUINTET AND COUPLETS(弗雷德里克和艾倫表達西方和東方女人的不同) 83 譜例4 LAKMÉ, ACT I, NO. 3 QUINTET AND COUPLETS(弗雷德里克和艾倫表達西方和東方女人的不同) 84 譜例5 LAKMÉ, ACT I, NO.4, ARIA(傑拉爾德想要畫河邊的珠寶) 85 譜例6 LAKMÉ, ACT I, NO.6, DUET (傑拉爾的初次見到拉克美) 86 譜例7 LAKMÉ, ACT II, NO.13, DUET(傑拉爾德和拉克美在市集重逢) 87 譜例8 LAKMÉ, ACT I, NO. 1 INTRODUCTION: CHORUS AND PRAYER (當尼拉坎特第一次出現時，他對印度群眾說對祭司獻上敬意的人將被保佑) 88 譜例9 LAKMÉ, ACT I NO. 1 INTRODUCTION: CHORUS AND PRAYER) 89 譜例10 LAKMÉ, ACT I ,NO. 1B ,SCENE(尼拉坎特向族人說話) 90 譜例11 LAKMÉ, ACT I ,NO. 1B ,SCENE(尼拉坎特要侍從照顧拉克美) 91 譜例12 LAKMÉ, ACT I ,NO. 2 ,DUET(拉克美向瑪莉卡訴說) 92 譜例13 LAKMÉ, ACT II ,NO. 9 ,SCENE AND STANZAS(尼拉坎特進入市集) 93 譜例14 LAKMÉ, ACT II ,NO. 12 ,SCENE AND CHORUS(尼拉坎特想包圍杰拉爾德時) 94 譜例15 LAKMÉ, ACT II ,NO. 12 ,SCENE AND CHORUS(尼拉坎特向共謀者商量) 95 譜例16 LAKMÉ, ACT II ,NO. 13 ,DUET(杰拉爾德在市集中找到拉克美) 96 譜例17 LAKMÉ, ACT I ,NO. 3 ,QUINTET AND COUPLETS(杰拉爾德、弗雷德里克、艾倫、她姊姊蘿絲和她們的家庭教師班森女士爭議著每個地方的女人是否不同) 97 譜例18 LAKMÉ, ACT I ,NO. 1 , INTRODUCTION: CHORUS AND PRAYER (一群印度人唱著他們要用祈禱來撫平婆羅門神的憤怒) 98 譜例19 LAKMÉ, ACT II ,NO. 12 ,SCENE AND CHORUS (共謀者回應尼拉坎特) 99 譜例20 LAKMÉ, ACT II, NO.10 SCÉNE ET LÉTENDE DE LA FILLE DU PARIA (鍾之歌) 100 譜例23 THAÏS, ACT I, FIRST TABLEAU (修士們用餐時說話和祈禱上帝賜給安達那埃力量) 101 譜例24 THAÏS, ACT I, FIRST TABLEAU (修士們用餐時說話和祈禱上帝賜給安達那埃力量) 102 譜例25 THAÏS, ACT I, FIRST TABLEAU (修士們用餐時說話和祈禱上帝賜給安達那埃力量) 103 譜例26 THAÏS, ACT I, FIRST TABLEAU(安達那埃返回修道院向修士們訴說亞力山卓城正處於罪惡之中) 104 譜例27 THAÏS, ACT I, FIRST TABLEAU(當安達那埃說他會為上帝贏得泰綺思墮落的靈魂) 105 譜例28 THAÏS, ACT I, FIRST TABLEAU(安達那埃不能看著泰綺思墮落而決定拯救她) 106 譜例29 THAÏS, ACT I, FIRST TABLEAU(長老帕勒蒙勸告安達那埃) 107 譜例30 THAÏS, ACT I, FIRST TABLEAU(安達那埃決定啟程) 108 譜例31 THAÏS, ACT I, SECOND TABLEAU(安達那埃抵達亞歷山卓城) 109 譜例32 THAÏS, ACT I, SECOND TABLEAU(安達那埃見到了尼西亞) 110 譜例33 THAÏS, ACT II, FIRST TABLEAU(安達那埃祈求上帝不要讓泰綺思的美貌使他迷失) 111 譜例34 THAÏS, ACT II, FIRST TABLEAU(安達那埃向泰綺思說有一種愛是她所未知的) 112 譜例35 THAÏS, ACT III, FIRST TABLEAU(修女們唱聖詩) 113 譜例36 THAÏS, ACT III, THIRD TABLEAU(泰綺思病重時，修女們圍繞著她唱聖詩) 114 譜例37 THAÏS, ACT III, THIRD TABLEAU(修女ALBINE問安達那埃) 115 譜例38 THAÏS, ACT III, THIRD TABLEAU(修女們讓安達那埃和泰綺思獨處，離開時唱著聖詩) 116 譜例39 THAÏS, ACT II, SECOND TABLEAU (泰綺思皈依天主教後，向安達那埃訴說她祈禱並哭泣) 117 譜例40 THAÏS, ACT II, SECOND TABLEAU(安達那埃說天快亮了，他們要找個地方休息) 118 譜例41 THAÏS, ACT II, SECOND TABLEAU(泰綺思說ALBINE是上帝的子民) 119 譜例42 THAÏS, ACT II, SECOND TABLEAU(泰綺思說她的過去沒有甚麼好保留的) 120 譜例43 THAÏS, ACT III, FIRST TABLEAU(泰綺思抱怨炙熱的太陽使她承受不住) 121 譜例44 THAÏS, ACT III, FIRST TABLEAU(泰綺思則同意要忘記自己的肉體) 122 譜例45 THAÏS, ACT III, FIRST TABLEAU(泰綺思說她要懺悔) 123 譜例46 THAÏS, ACT III, FIRST TABLEAU(泰綺思則說她會懺悔) 124 譜例47 THAÏS, ACT I, SECOND TABLEAU(安達那埃抵達亞歷山卓城時，他先訴說亞歷山卓城的墮落，之後則讚美神) 125 譜例48 THAÏS, ACT II, FIRST TABLEAU(安達那埃到泰綺思的住所向他訴說上帝的偉大) 126 譜例49 THAÏS, ACT II, SECOND TABLEAU(泰綺思決定皈依天主教後，她說她不後悔把上帝當主人) 127 譜例50 THAÏS, ACT III, FIRST TABLEAU(泰綺思說上帝使者的折磨是如此的仁慈) 128 譜例51 THAÏS, ACT I, SECOND TABLEAU (第二景開始時) 129 譜例52 THAÏS, ACT I, SECOND TABLEAU (尼西亞對安達那埃說不要對他的女僕們的嘲笑生氣) 130 譜例53 THAÏS, ACT I, SECOND TABLEAU(克羅比和馬爾泰想要替安達那埃裝扮時) 131 譜例54 THAÏS, ACT I, SECOND TABLEAU(尼西亞說泰綺思從他的懷抱裡溜走了) 132 譜例55 THAÏS, ACT I, SECOND TABLEAU(泰綺思則回答尼西亞說明天她將不再是他的了) 133 譜例56 THAÏS, ACT II, FIRST TABLEAU, MIRROR ARIA (泰綺思對著鏡子訴說她的靈魂是空的) 134 譜例57 THAÏS, ACT II, FIRST TABLEAU, MIRROR ARIA (泰綺思對著鏡子訴說她即將變老) 135 譜例64 LA PRINCESSE JAUNE, SCÉNE, VISION DONT MON ÂME ÉPRISE (柯爾內理幻想) 136 譜例65 LA PRINCESSE JAUNE, SCÉNE,CHŒUR, CHAUSON, ET DUO (雷娜諷刺柯爾內理) 137 譜例66 LA PRINCESSE JAUNE, RECIT ET ARIETTA, OUTSOU SEMI SI KAMINI (雷娜讀日文信) 138 譜例67 LA PRINCESSE JAUNE, SCÉNE,CHŒUR, CHAUSON, ET DUO (兒童合唱) 139 參考文獻 140 內文譜例目次 譜例1 LAKMÉ,ACT II, NO.10 SCÉNE ET LÉGENDE DE LA FILLE DU PARIA (鐘之歌) 39 譜例21 日課 45 譜例22 祈禱文 46 譜例58 THAÏS, ACT I, SECOND TABLEAU (泰綺思：哪裡來的這麼嚴肅的人？把自己的頭戴上玫瑰吧!) 49 譜例59 THAÏS,ACT I, SECOND TABLEAU (安達那埃拒絕泰綺思等人的邀請) 50 譜例60 THAÏS,ACT I, SECOND TABLEAU (泰綺思等人第二次邀請安達那埃戴上玫瑰) 53 譜例61 THAÏS,ACT I, SECOND TABLEAU (安達那埃第二次拒絕泰綺思等人的邀請) 54 譜例62 THAÏS,ACT I, SECOND TABLEAU (泰綺思等人第三次邀請安達那埃) 55 譜例63 THAÏS,ACT I, SECOND TABLEAU (安達那埃第三次拒絕泰綺思等人的邀請) 56 譜例68 LAKMÉ, ACT I, NO. 6, DUET (拉克美第一次見到杰拉爾德而驚嚇) 63 譜例69 LAKMÉ, ACT I, NO. 6, DUET (杰拉爾德訴說著是春之神和愛情帶來了迷惑的情緒) 64 譜例70 LAKMÉ, ACT I, NO. 6, DUET (拉克美跟著回應杰拉爾德) 65 譜例71 LAKMÉ, ACT I, NO. 6, DUET (拉克美真正的被杰拉爾德同化) 66 譜例72 THAÏS, ACT II, FIRST TABLEAU (安達那埃向泰綺思說明上帝的愛) 68 譜例73 THAÏS, ACT II, FIRST TABLEAU (安達那埃說信仰上帝會有永恆的生命) 69 譜例74 THAÏS, ACT II, FIRST TABLEAU (泰綺思願意接受上帝) 70 表目次 表 2-1 十九世紀法國東方主義歌劇 25 表 3-1 LAKMÉ, ACT II, NO.10 SCÉNE ET LÉGENDE DE LA FILLE DU PARIA (BELL SONG) 歌詞 38 表 3-2 LAKMÉ, ACT I NO. 3 QUINTET AND COUPLETS歌詞 44 | |
| dc.language.iso | zh-TW | |
| dc.title | 論普法戰爭後法國東方主義歌劇裡「自我」和「他者」的性別化：以《拉克美》、《泰綺思》和《黃種公主》為例 | zh_TW |
| dc.title | Gendering 'self' and 'Other' in French orientalist operas after the Franco-Prussian War: Lakmé, Thaïs and La Princesse Jaune | en |
| dc.type | Thesis | |
| dc.date.schoolyear | 102-2 | |
| dc.description.degree | 碩士 | |
| dc.contributor.oralexamcommittee | 金立群(Lap-Kwan Kam),李奉書(Feng-Shu Lee) | |
| dc.subject.keyword | 普法戰爭,身份認同,自我,他者,雄性氣慨,東方主義,東方主義歌劇,國家主義, | zh_TW |
| dc.subject.keyword | The Franco-Prussian War,identity,self,Other,masculinity,Orientalism,Orientalist operas,nationalism, | en |
| dc.relation.page | 145 | |
| dc.rights.note | 有償授權 | |
| dc.date.accepted | 2014-07-29 | |
| dc.contributor.author-college | 文學院 | zh_TW |
| dc.contributor.author-dept | 音樂學研究所 | zh_TW |
| 顯示於系所單位： | 音樂學研究所 | |
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