探索酷兒死亡性：三部二十一世紀愛爾蘭酷兒戲劇中的死亡場景及後死亡論述

Abstract

這篇論文探討了2000年後現代愛爾蘭酷兒戲劇中死亡這一元素的持續存在，具體分析了Neil Watkins的A Cure for Homosexuality（2005）、Rosaleen McDonagh的Mainstream（2016）以及Sebastian Barry的On Blueberry Hill（2018）。通過以多種理論框架進行批判性分析，如Ernest Becker的死亡否認理論 (death denial)、Robert McRuer的強制健全性批判 (compulsory able-bodiedness) 以及Elizabeth Freeman的情慾歷史學 (erotohistoriography) 概念，本研究探討了死亡如何作為抵抗和批判壓迫酷兒社群的社會結構的一種形式。此本研究探討了死亡如何作為抵抗和批判壓迫酷兒社群的方式。論文論證了死亡在這些戲劇中不僅是敘事工具，還影響了存活角色的生活，並透過他們的生活揭示酷兒未來的本質。研究引入了「非經濟性之愛」的概念，並分析了這種愛如何支撐酷兒社群對抗父權制與新自由主義的壓迫。最終，本研究為酷兒戲劇中的死亡提供了新解釋，強調其在塑造酷兒生活和未來中的重要性，並為酷兒戲劇及表演研究提供了新的研究方向，尤其是關於死亡、親屬關係和「非經濟性之愛」的敘事如何在新興媒介中重塑酷兒身份與關係。

This thesis investigates the persistent presence of death in contemporary queer Irish theatre produced after the 2000s, focusing on Neil Watkins’ A Cure for Homosexuality (2005), Rosaleen McDonagh’s Mainstream (2016), and Sebastian Barry’s On Blueberry Hill (2018). Through a critical analysis based on theoretical frameworks such as Ernest Becker’s theory of death denial, Robert McRuer’s critique of compulsory able-bodiedness, and Elizabeth Freeman’s concept of erotohistoriography, this study examines how death functions as both a form of resistance and a critique of the social structures that oppress the queer community. The thesis argues that death in these plays is not merely a narrative device, but also shapes the lives of the surviving characters, revealing the essence of queer futurity through their experiences. The concept of “Non-Economic Love” is introduced, illustrating how this form of love supports the queer community in resisting patriarchal and neoliberal oppression. Ultimately, this study offers a new interpretation of death in queer theatre, emphasizing its role in shaping queer life and future, while also providing new avenues for research in queer theatre and performance studies, particularly regarding how narratives of death, kinship, and “Non-Economic Love” may reshape queer identities and relationships in emerging media forms.