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完整後設資料紀錄
DC 欄位 | 值 | 語言 |
---|---|---|
dc.contributor.advisor | 高維泓 | |
dc.contributor.author | Chen-Wei Han | en |
dc.contributor.author | 韓震緯 | zh_TW |
dc.date.accessioned | 2021-05-17T09:16:11Z | - |
dc.date.available | 2014-08-10 | |
dc.date.available | 2021-05-17T09:16:11Z | - |
dc.date.copyright | 2012-08-10 | |
dc.date.issued | 2012 | |
dc.date.submitted | 2012-08-06 | |
dc.identifier.citation | Works Cited
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Corbett, Tony. “The Grammar of Reality.” Brian Friel: Decoding the Language of the Tribe. Dublin: Liffey Press, 2008. 107-40. Daly, Mary E. “Women in the Irish Free State, 1922-1939: The Interaction Between Economics and Ideology.” Journal of Women’s History 6.4/7.1 (1995): 99-115. Deevy, Teresa. The King of Spain’s Daughter. 1935. Selected Plays of Irish Playwright Teresa Deevy, 1894-1963. Studies in Irish Literature Vol. 10. Lewiston: The Edwin Mellen Press, 2003. 17-36. Despres, Carole. “The Meaning of Home: Literature Review and Directions for Future Research and Theoretical Development.” Journal of Architecture and Planning Research 8.2 (1991): 96-114. Foucault, Michel. “Questions on Geography.” Power/Knowledge: Selected Interviews and Other Writings, 1972-1977. Ed. Colin Gordon. New York: Pantheon, 1980. 63-77. Freud, Sigmund. “The Uncanny.” 1919. The Standard Edition of the Complete Psychological Works of Sigmund Freud. Trans. and Ed. James Strachey et al. Vol. 17. London: Hogarth P, 1995. 217-56. Friel, Brian. Dancing at Lughnasa. London: Faber and Faber, 1990. ---. Molly Sweeney. 1994. Plays Two. London: Faber and Faber, 1999. 447-509. ---. The Loves of Cass McGuire. 1966. Oldcastle: The Gallery Press, 1984. Garratt, Robert F. “Beyond Field Day: Brian Friel’s Dancing at Lughnasa.” The State of Play: Irish Theatre in the ‘Nineties. Ed. Eberhard Bort. Trier: Wissenschaftlicher Verlag Trier, 1996. 75-87. George, Rosemary Marangoly. “Home-Countries: Narratives across Disciplines.” The Politics of Home: Postcolonial Relocations and Twentieth-Century Fiction. Cambridge: Cambridge UP, 1996. 11-34. Graham, Colin. “‘Staged Quaintness’: Subalternity, Gender and Popular Identity.” Deconstructing Ireland: Identity, Theory, Culture. Edinburgh: Edinburgh UP, 2001. 102-31. Gray, Breda. “Global Modernities and the Gendered Epic of the ‘Irish Empire’.” Uprootings/Regroundings: Questions of Home and Migration. Ed. Sara Ahmed et al. New York: Berg, 2003. 157-178. Harris, Claudia W. “The Engendered Space: Performing Friel’s Women from Cass McGuire to Molly Sweeney.” Brian Friel: A Casebook. Ed. William Kerwin. London: Garland Press, 1997. 43-75. Hayden, Dolores. Redesigning the American Dream: The Future of Housing, Work and Family Life. 1984. New York: Norton, 2002. Howitt, Richard. “Scale as Relational: Musical Metaphors of Geographical Scale.” Area 30.1 (1998): 49-58. Innes, C. L. Woman and Nation in Irish Literature and Society, 1880-1935. Athens: U of Georgia P, 1993. Kandiyoti, Deniz. “Identity and Its Discontent: Women and the Nation.” Colonial Discourse and Postcolonial Theory: A Reader. Ed. Laura Chrisman and Patrick Williams. Hemel Hempstead: Harvester, 1994. 376-91. LaForge, Heather Lynn Donahoe. “Rupturing the Stage: Performing Women in Brian Friel’s Theatre.” Diss. U of California, San Diego, 2008. Lavie, S., and Swedenburg T. Displacement, Diaspora and Geographies of Identity. Durham, S. C.: Duke UP, 1996. Lee, J. J. “Emigration: A Contemporary Perspective.” Migrations: The Irish at Home and Abroad. Ed. Richard Kearney. Dublin: Wolfhound Press, 1990. Lojek, Helen. “Dancing at Lughnasa and the Unfinished Revolution.” The Cambridge Companion to Brian Friel. Ed. Anthony Roche. Cambridge: Cambridge UP, 2006. 78-90. McClintock, Anne. “Family Feuds: Gender, Nationalism and the Family.” Feminist Review 44 (Summer 1993): 61-80. McDowell, Linda. “Home, Place and Identity.” Gender, Identity and Place: Understanding Feminist Geographies. Cambridge: Polity Press, 1999. 71-95. ---. “Introduction: Place and Gender.” Gender, Identity and Place: Understanding Feminist Geographies. Cambridge: Polity Press, 1999. 1-33. McGrath, F. C. “Apprenticeship: The Loves of Cass McGuire and the Early Plays.” Brain Friel’s (Post)Colonial Drama: Language, Illusion, and Politics. Syracuse, NY: Syracuse UP, 1999. 64-95. McMullan, Anna. “In Touch with Some Otherness: Gender, Authority and the Body in Dancing at Lughnasa.” Irish University Review 29.1 (1999): 90-100. ---. “Performativity, Unruly Bodies and Gender in Brian Friel’s Drama.” The Cambridge Companion to Brian Friel. Ed. Anthony Roche. Cambridge: Cambridge UP, 2006. 142-52. ---. “Unhomely Stages: Women Taking (a) Place in Irish Theatre.” Druids, Dudes and Beauty Queens: The Changing Face of Irish Theatre. Ed. Dermot Bolger. Dublin: New Island, 2001. 72-90. Marston, Sallie A. “A Long Way from Home: Domesticating the Social Production of Scale.” Scale and Geographic Inquiry: Nature, Society and Method. Ed. Eric Sheppard and Robert B. McMaster. Oxford: Blackwell, 2004. 170-91. ---. “The Social Construction of Scale.” Progress in Human Geography 24.2 (2000): 219-42. Martin, Biddy, and Chandra Talpade Mohanty. “Feminist Politics: What’s Home Got to Do with It?” Feminist Studies/Critical Studies. Ed. Theresa de Lauretis. Bloomington: Indiana UP, 1984. 191-212. Massey, Doreen. “A Place Called Home.” New Formations 17.3 (1992): 3-15. ---. “Living in Wythesenshawe.” The Unknown City: Contesting Architecture and Social Space: A Strangely Familiar Project. Ed. Iain Borden et al. Boston: MIT Press, 2001. 458-75. Nash, Catherine. “Embodying the Nation: The West of Ireland, Landscape and Irish Identity” Tourism in Ireland: A Critical Analysis. Ed. Barbara O’Connor and Michael Cronin. Cork: U college Cork P, 1993. Radhakrishnan, R. “Nationalism, Gender, and the Narrative of Identity.” Nationalisms and Sexualities. Ed. Andrew Parker et al. London: Routledge, 1992. 77-95. Redmond, Jennifer. “Gender, Emigration and Diverging Discourses: Irish Female Emigration, 1922-48.” Gender and Power in Irish History. Ed. Maryann Gialanella Valiulis. Dublin: Irish Academic Press, 2009. 140-58. Ryan, Louise. “Irish Female Emigration in the 1930s: Transgressing Space and Culture.” Gender, Place and Culture 8.3 (2001): 271-82. ---. “Negotiating Modernity and Tradition: Newspaper Debates on the ‘Modern Girl’ in the Irish Free State.” Journal of Gender Studies 7.2 (1998):181-97. Smith, Neil. “Contours of a Spatialized Politics: Homeless Vehicles and the Production of Geographical Scale.” Social Text 33 (1992): 55-81. Somerville, Peter. “The Social Construction of Home.” Journal of Architectural and Planning Research 14.3 (1997): 226-45. Swyngedouw, Erik. “Excluding the Other: The Production of Scale and Scaled Politics.” Geographies of Economies. Ed. Roger Lee and Jane Wills. London: Arnold, 1997. 167-76. Valiulis, Maryann Gialanella. “Power, Gender, and Identity in the Irish Free State.” Journal of Women’s History 6.4/7.1 (1995):116-36. ---. “Virtuous Mothers and Dutiful Wives: The Politics of Sexuality in the Irish Free State.” Gender and Power in Irish History. Ed. Maryann Gialanella Valiulis. Dublin: Irish Academic Press, 2009. 100-14. Walter, Bronwen. Outsiders Inside: Whiteness, Place and Irish Women. London: Routledge, 2001. | |
dc.identifier.uri | http://tdr.lib.ntu.edu.tw/jspui/handle/123456789/6679 | - |
dc.description.abstract | This thesis seeks to explore the spatial politics of home in Irish playwright Brian Friel’s plays: Dancing at Lughnasa (1990) and The Loves of Cass McGuire (1966). I would like to draw upon the theory of social construction of scale, feminist geography on home and other relevant theorizations on home, such as the unhomely, or uncanny, in order to explore the contested relationships between home and Irish women after the establishment of the Irish Free State in 1922. Set in Ballybeg, Friel’s favorite but fictitious setting in County Donegal of the north-western Ireland, Dancing at Lughnasa portrays the political, economic and socio-cultural predicaments of five sisters, further uncovering and destabilizing the normative imaginary of Irish women, home and nation-building in the 1930s. The Loves of Cass McGuire delineates the return of an Irish diasporic woman, Cass, from New York, and her incompatibility with the Irish middle-class home, represented by her brother Harry and his household in the 1960s.
Many of Friel’s plays are primarily set within the domestic places of home, including kitchen, living room, breakfast room, study, garden, and so forth in plays such as Philadelphia, Here I Come! (1964), The Loves of Cass McGuire (1966), Living Quarters (1977), Aristocrats (1979), Translations (1980), Dancing at Lughnasa (1990), Give Me Your Answer, Do! (1997) and The Home Place (2005). However, the home delineated by Friel is far from a private, intimate place for rest and recuperation; rather, it is always a problematic and contested place for the characters, who, either live in it or only come to visit, have to struggle with the normative social roles and ideologies embodied in the home of the past or the present. In other words, home depicted by Friel in his plays is never merely a setting or background in which the actions of the plays take place; instead, Friel’s plays implicitly reveal that home is not only a material house but also a social sphere constituted by multifarious, and even contradictory, social processes and relations within specifically historical and geographical contexts. More often than not, the homes in Friel’s plays are either broken or on the verge of breakdown, for they are always already permeated by the political, economic, and socio-cultural transformations beyond the scale of home, despite the desperate endeavors by some characters to create or maintain a bounded, stable home. In this thesis I will argue that The Loves of Cass McGuire and Dancing at Lughnasa represent the gendered politics of home in the newly established Ireland after political de-colonization. Moreover, they both stage the contested struggles with the normative gendered mechanism imposed on Irish women’s mobility, identity, gender and sexuality within the scale of home. The social imaginary of an Irish homely home, with its material embodiments respectively in the 1930s and 1960s, is mutually constituted with the gendered identities and relations of the household. Home in both plays means differently for different characters either within the scale of home or in the process of diaspora. Home is a site of feminized domesticity, national order, Catholic virtue and Gaelic traditions, but it is also a conflicting site of power struggles and identity contestation, especially for certain defiant women characters. On the other hand, for those eagerly to sustain a homely home in the normative vision, they also suffer the unhomely, or uncanny, sentiment, as they are compelled to recognize the recurrence of the once familiar but concealed existences and facts, embodied by certain household members, in their daily life. Furthermore, they are also pressed to confront the reality that their supposedly private home is always an open, public place perpetually reconfigured by myriad social processes and relations beyond the scale of home. In the process of representing the domestic sphere of home in both plays, Friel not only delineates the various aspects of home constituted by diverse structural forces in different contexts, but also addresses to the conflictory and fluid meanings and feelings of home for varied subjects in their individual struggles to create a place that can be called home for themselves; namely, a sense of belongingness to a certain place. Accordingly, the home depicted in Friel’s plays is always an open, intersecting sphere constituted by perpetual processes of flux of socio-spatial dynamics at multiple scales. | en |
dc.description.provenance | Made available in DSpace on 2021-05-17T09:16:11Z (GMT). No. of bitstreams: 1 ntu-101-R96122008-1.pdf: 417576 bytes, checksum: af100defea8fdfc960720cb077fb3897 (MD5) Previous issue date: 2012 | en |
dc.description.tableofcontents | Table of Contents
Acknowledgements i Abstract iii Introduction 1 Chapter One Social Construction of the Scale of Home in the Context of Irish Nation-Building and Brian Friel’s Drama 17 Chapter Two “What has happened to this house?”: Gender, (Un)-Homely Home and Irish Nation-Building in Dancing at Lughnasa 37 Chapter Three “Home at last. Gee, but it’s a good thing to be home”: Diaspora, Gender and Home in The Loves of Cass McGuire 72 Conclusion Irish Women, (Un)-Homely Home and Nation Formation in Dancing at Lughnasa and The Loves of Cass McGuire 101 Works Cited 112 | |
dc.language.iso | en | |
dc.title | 家的空間政治:論愛爾蘭劇作家布萊恩•傅利爾《在羅納莎起舞》與《凱絲•麥克吉爾的愛情故事》中的性別、國族建構和女性跨國離散 | zh_TW |
dc.title | The Spatial Politics of Home: Gender, Nation-Building and Female Diaspora in Irish Playwright Brian Friel’s Dancing at Lughnasa and The Loves of Cass McGuire | en |
dc.type | Thesis | |
dc.date.schoolyear | 100-2 | |
dc.description.degree | 碩士 | |
dc.contributor.oralexamcommittee | 施純宜,李根芳 | |
dc.subject.keyword | 布萊恩‧傅利爾,家,性別,國族建構,女性跨國離散,場域,地方,詭異, | zh_TW |
dc.subject.keyword | Brian Friel,home,gender,nation-building,female diaspora,scale,place,unhomely/uncanny, | en |
dc.relation.page | 116 | |
dc.rights.note | 同意授權(全球公開) | |
dc.date.accepted | 2012-08-06 | |
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 |
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