http://tdr.lib.ntu.edu.tw/jspui/handle/123456789/6 2026-04-15T15:12:28Z 2026-04-15T15:12:28Z Yung-chen Shih 施詠臻 http://tdr.lib.ntu.edu.tw/jspui/handle/123456789/27114 2021-06-12T17:55:43Z 2008-01-01T00:00:00Z

標題: 黃禍與模範弱裔:《骨頭》與《夢娜在應許之地》中族裔與階級的交錯; Yellow Peril vs. Model Minority: Intersections of Ethnicity and Class in Bone and Mona in the Promised Land 作者: Yung-chen Shih; 施詠臻 摘要: 中文摘要 本論文以華美作家伍慧明(Fae Myenne Ng)的《骨頭》和任璧蓮的《夢娜在應許之地》兩本小說為分析文本，進而探討黃禍與模範弱裔此二種對華裔美國人的刻板印象如何影響華美社群內的階級政治。就黃禍而言，華裔美國人經常被再現為無法同化、大量湧進美國以搶奪白人勞工工作機會的移民。然而，在另一方面，華裔美國人又被視為模範弱裔：高度美國化、在經濟上有所成就、同時又能夠融入白人中產階級的生活。本論文集中探討此二種刻板印象的不同階級意涵對華美社群的影響。二次大戰後，由於白人主流社會的刻意篩選，導致華美群內階級分歧形成並且加劇。由於勞工及中產階級的華裔美國人同時存在，使得黃禍及模範弱裔兩種刻板印象得以持續流行。藉著操弄這兩種刻板印象，白人主流社會不僅將其對於華裔美國社群的剝削合理化，並且分化不同階級的華裔美國人，從而削弱社群成員之間的團結。華裔美國人的族裔和階級認同亦因這兩種刻板印象的影響而發生衝突。; Abstract This thesis examines how the Yellow Peril and Model Minority stereotypes influence the Chinese American community and shape the class politics within the community. The Yellow Peril stereotype often represents Chinese Americans as unassimilable laborers flooding into the U.S. in competition with the white workers while the Model Minority stereotype constructs Chinese Americans as an ethnic group highly Americanized, economically successful, and fully assimilated into the white middle-class life. The thesis focuses on the class implications of the two stereotypes. Through a comparative reading of Bone and Mona in the Promised Land, this thesis illustrates how the two stereotypes affect Chinese Americans' self-perception and their perception of other Chinese Americans who occupy different class positions. I argue that through the manipulation of the two stereotypes, the white mainstream society not only justifies its exploitation of Chinese Americans, but also fissures Chinese American ethnic solidarity along the class lines. Also by means of the two stereotypes, the white mainstream society makes Chinese Americans feel split between their ethnic and class identities.

2008-01-01T00:00:00Z Hsing-shu Lee 李行恕 http://tdr.lib.ntu.edu.tw/jspui/handle/123456789/21376 2021-06-08T03:32:25Z 2021-01-01T00:00:00Z

標題: 麥可‧翁達傑《身著獅皮》中的創傷與皮膚; Trauma and Skin in Michael Ondaatje’s In the Skin of a Lion 作者: Hsing-shu Lee; 李行恕 摘要: 在麥可‧翁達傑《身著獅皮》的小說研究中，較少學者關注其中個人創傷的議題。本論文認為小說中主角的創傷必須被看見，並且主張，借助皮膚的概念，小說呈現了主角的創傷及其可能的復原。本論文受到安祖（Didier Anzieu）的皮膚自我（The Skin-ego）理論的啟發，並分成身體、精神及敘事三個面向來討論主角的創傷。小說展現出主角身體皮膚的創傷、精神皮膚的破裂，以及皮膚自我中的洞，這些創傷的展現可與安祖提出的痛苦的包覆（wrapping of suffering）、夢的影片（film of dreams）、詞語之皮（skin of words）相連結。在安祖的理論中，這三個概念都具有修復的力量。 在身體面向，主角藉由自我傷害表達出心理創傷，並將自己包覆於痛苦之中。經由感受痛苦以及肢體碰觸，他確認了自己的身體感覺並重新感到活著。在精神面向，主角的精神皮膚因創傷而破裂，夢相繼產生。小說中充滿了夢與影像，構成了一部夢的影片，藉此可修復他破裂的精神皮膚。在敘事面向，主角的童年創傷造成其皮膚自我中的洞，以及其沉默疏離的習性。然而，他逐漸發展出表達自我的能力，經由訴說其創傷經歷，主角製作出詞語之皮並覆蓋了創傷之洞。透過討論創傷的不同面向以及皮膚自我的理論，本論文認為《身著獅皮》展現了主角的創傷以及其可能的復原。 ; In the studies of Michael Ondaatje’s In the Skin of a Lion, few critics have addressed the issue of personal trauma. The thesis suggests that the protagonist’s trauma must be seen, and proposes that with the help of the concept of skin, the novel presents the protagonist’s trauma and his possible recovery. I take Didier Anzieu’s theory of the Skin-ego as a point of departure to discuss the protagonist’s trauma, which can be divided into three dimensions of the body, the psyche, and the narrative. The novel shows traumatization of the skin, breach of the psychical skin, and holes in the Skin-ego, and these traumatic representations can be discussed correspondingly with Anzieu’s concepts of wrapping of suffering, film of dreams, and skin of words. In Anzieu’s theory, the three concepts all have therapeutic potential. On the bodily dimension, the protagonist demonstrates his trauma through self-inflicted wounds and wraps himself in suffering. Through feeling the suffering and being touched, he can affirm his bodily feelings and feel alive. On the psychical dimension, trauma causes the breach of the protagonist’s psychical skin and his post-traumatic dreams. The novel is full of dreams and images, which constitute a film of dreams that helps to repair his breached psychical skin. On the narrative dimension, the protagonist’s traumatic childhood creates the holes in his Skin-ego and his habit of keeping silent. However, he gradually develops the ability to articulate himself. By telling his traumatic experience, the protagonist creates a skin of words and repairs the traumatic hole. By discussing different dimensions of trauma and the Skin-ego theory, this thesis argues that In the Skin of a Lion demonstrates the protagonist’s trauma and his possible recovery.

2021-01-01T00:00:00Z Vivian Wei-Hsuan Tsai 蔡瑋璇 http://tdr.lib.ntu.edu.tw/jspui/handle/123456789/65972 2021-06-17T00:17:11Z 2020-01-01T00:00:00Z

標題: 魔法傀儡：《彩夢芭蕾》對於童話公主的重新想像; Magical Marionettes: Reimagining the Fairy-Tale Princess in Princess Tutu 作者: Vivian Wei-Hsuan Tsai; 蔡瑋璇 摘要: 本篇論文旨在探討日本動畫系列《彩夢芭蕾》（2002-2003）如何重新想像童話公主的原型角色。主張該作品藉由現代詮釋的方法來複雜化傳統公主的特徵，使其得以擺脫父權的操控及自身傀儡化的初始設定。故事中的兩位女主角透過西歐童話公主與日本動漫中魔法少女的雙重身份，形成文化混種的「魔法公主」形象，展現對於傳統童話公主角色的複雜想像。此外，本作品奠基於常規的童話慣例，並從芭蕾舞劇（特別是《天鵝湖》）汲取靈感，利用魔法和舞蹈的意象，對於公主身份的定位與呈現進行非典型詮釋。本論文之文本分析，主要探討動畫當中關於「魔法公主」的三個議題：首先是兩位女性主角之間亦敵亦友的複雜關係，及其在使用和放棄魔法所象徵的意義；其次是公主與「落難王子」的浪漫相遇，以及「幸福結局」的複雜多元意涵；最後，本作品提供兩個截然不同的例子，呈現公主如何抗拒挑戰父權制童話的操縱力，追求超越傳統特質的限制，成為具有強烈自主性與自我意識的「英雌」（heroine），抗拒故事框架、父權掌控，以及童話作家指派的角色定位。綜而觀之，《彩夢芭蕾》是一部深具意義的動畫作品，透過「魔法公主」的角色與情節塑造，以及「童話敘事」（fairy-telling）和「後設評述」（metacommentary），重新想像並複雜化童話公主的意象，鼓勵女性觀眾從童話傳統框架中解放自我，爭取自由及自主權，進而選擇自己的命運、創造屬於自己的幸福結局。; This thesis aims to explore the ways in which the Japanese anime series Princess Tutu (2002-2003) reimagines the archetypal role of the fairy-tale princess. The researcher argues that the anime creates an innovative interpretation by complicating the princess’ conventional characterization, allowing the two female protagonists to be free from the patriarchal fairy tale that seeks to puppet them like marionettes. Notably, the two heroines of Princess Tutu embody the dual identity of the princess and the mahō shōjo (“magical girl”) of Japanese ACG (anime, comics, games), dubbed the “magical princess,” to present a complex reimagining of the traditional fairy-tale princess. The anime series also employs magic and dance to present atypical interpretations of the princess’ identity by adopting the standard fairy-tale template and drawing inspiration from ballet, particularly Swan Lake. This thesis’ textual analysis of the anime focuses on three aspects: first, the unlikely friendship between two female characters cast as rivals, as well as the significance behind their use and abandonment of acquired magic; second, the princesses’ romantic encounters with the “prince in distress” and the notion of the “happy ending;” and third, the ways in which the two princesses defy and challenge the manipulative force of the patriarchal fairy tale, demonstrating two vastly differing examples of the princess’ quest to rise above her conventional characterization and become an active, self-aware heroine. The thesis concludes that Princess Tutu offers a complex interpretation of the characterization and story of the “magical princess” through fairy-telling and metacommentary, encouraging women to liberate themselves from the fairy-tale tradition and thus take back the freedom to choose their own fate and create their own happily-ever-after.

2020-01-01T00:00:00Z Chia-Jung Kang 康嘉容 http://tdr.lib.ntu.edu.tw/jspui/handle/123456789/16359 2021-06-07T18:11:19Z 2012-01-01T00:00:00Z

標題: 《魔戒》的異世界一瞥：（復）魅化與中間地帶; A Glimpse of the Fairyland: (Re-)Enchantment, In-Betweenness, and The Lord of Rings 作者: Chia-Jung Kang; 康嘉容 摘要: 本論文探討托爾金的《魔戒》達到的（復）魅化。長久以來，「異世界」都是重要的文化與文學想像。維多利亞時代人們對妖精的熱衷便反映了此傾向。然而，現代化帶來了一個除魅化的嶄新世界，強調啟蒙與理性，進而令妖精的魅力在十九世紀後期逐漸下降。來到托爾金寫作《魔戒》的二十世紀中期，妖精魅化的能力已不如過去那般強大。相對地，作為一部二十世紀中期的現代作品，《魔戒》重新喚起了讀者們對於「異世界」的想像，也因此能幫助我們更為深入探討魅化與除魅化在現代化過程中的矛盾。 本文檢視魅化、中間性、以及異世界三者間的細微互動。《魔戒》中的中土世界為一中間地帶，其中間性的具體化便是精靈。托爾金的精靈承繼了妖精的中間魅化者角色，並在《魔戒》中修復了妖精喪失的他者性。然而，中間性可能導致自相矛盾的困境。精靈們在《魔戒》的最後離開中土世界，讓他者性與同一性間的矛盾得到和解。本文主張透過魅化，我們可抵達一個現世與異世界交叉並存的中間地帶。《魔戒》作為奇幻文學與現代的魅化媒介，讓讀者得以一瞥異世界。; This thesis studies the (re-)enchantment of J. R. R. Tolkien’s The Lord of the Rings. “Fairyland” is an important cultural and literary imagination. As one part of the mythical past, fairies occupied the Victorian imagination. Nonetheless, the Victorian fascination with fairies had gradually declined after the late nineteenth century. Modernization, traditionally characterized by Enlightenment and reason, led to a disenchanted twentieth-century world. When Tolkien wrote his famous trilogy in the mid-twentieth century, fairies and fairy-stories did not possess as much of their enchanting power as they did in the nineteenth century. The Lord of the Rings, which revives its readers’ imagination of the fairyland as a modern (re-)enchantment, thus illustrates our studying of the conflict between enchantment and disenchantment in the process of modernization. This thesis examines the subtle relation between enchantment, in-betweenness, and the otherworld. Middle-earth is a world between the self and the other, and its in-betweenness is embodied by the Elves. Their kinship with and difference from the fairies reveal the in-between nature of enchantment. Restoring their otherness, Tolkien’s Elves readopt the fairies’ role of the in-between enchanter. Nonetheless, the delicate balance between self-sameness and otherness is difficult to maintain. The Elves’ final departure from Middle-earth is hence a reconciliation of their possible paradox as the in-between enchanter. This thesis proposes that through enchantment, we could enter a temporary border zone where the reality and the otherworld intersect. As a fantasy fiction and a modern enchantment, The Lord of the Rings is its readers’ glimpse of the fairyland.

2012-01-01T00:00:00Z