簡易檢索 / 詳目顯示

研究生: 李佩倫
Pei-lun Lee
論文名稱: 性別混淆、婚姻與浪漫喜劇:再檢視《如願》與《第十二夜》
Gender Ambivalence, Marriage, and Romantic Comedy: A Re-Examination of As You Like It and Twelfth Night
指導教授: 林璄南
Lin, Ying-Nan
學位類別: 碩士
Master
系所名稱: 英語學系
Department of English
論文出版年: 2005
畢業學年度: 93
語文別: 英文
論文頁數: 95
中文關鍵詞: 浪漫喜劇成規變裝性別混淆同性情愛婚姻
英文關鍵詞: romantic comedy, convention, cross-dressing, gender ambivalence, homoeroticism, marriage
論文種類: 學術論文
相關次數: 點閱:198下載:27
分享至:
查詢本校圖書館目錄 查詢臺灣博碩士論文知識加值系統 勘誤回報
  • 摘要
    本論文探討莎士比亞的兩部浪漫喜劇《如願》與《第十二夜》中浪漫喜劇成規(convention)之呈現。伊麗莎白時期浪漫喜劇經常被視為頌揚異性愛情與婚姻之次文類。然而我認為此種認知若套用在《如願》與《第十二夜》上並不恰當。雖然此二劇本被歸類為浪漫喜劇,在它們稱頌異性愛情及婚姻的表象下,同性之間的情愛透過女主角的變裝(cross-dressing)所產生的性別混淆流動於角色之間而婚姻的穩定性與價值也受到質疑。第一章由分析不同評論者對浪漫喜劇的定義與討論,探討浪漫喜劇的成規。這些成規包含以愛情故事為劇情主軸、戀人必須經歷的磨難 (ordeals)、求愛的過程(wooing)以及婚姻。這些成規使一些評論家對莎士比亞的浪漫喜劇產生既定且不妥的認知,例如認為莎士比亞的浪漫喜劇遵循異性戀傳統並且頌揚婚姻為社會和諧之象徵。第二章分析《如願》與《第十二夜》中同性情愛的元素。兩部劇本中,女主角的變裝使她們的性別產生混淆,而此性別混淆為同性之間的情愛創造了流動的空間。在此二劇本中,異性愛情並非愛情的唯一面貌或可能,愛情亦存在於同性之間。第三章則藉由檢視《如願》與《第十二夜》中浪漫喜劇成規之呈現,探討其對婚姻的質疑。兩部劇本中對磨難與求愛等成規的呈現質疑了婚姻的價值。而劇本中對婚姻的描繪更突顯出婚姻本身的不穩定及弱點。換言之,《如願》與《第十二夜》並未將婚姻理想化為完美快樂的結局。雖然《如願》與《第十二夜》中運用了浪漫喜劇的成規,它們卻也為這些成規加入了變化。這些變化不僅創造更多詮釋的空間亦說明成規本身並非固定的規範。因此,若一味將此二劇本視為對異性愛情及婚姻的歌頌則忽略了它們在成規上所呈現的變化。我認為《如願》與《第十二夜》不但藉由性別混淆強調同性之間的情愛,亦質疑婚姻的穩定性與價值。

    Abstract
    This thesis is a study of the presentation of Elizabethan romantic comedy conventions in Shakespeare’s As You Like It and Twelfth Night. Elizabethan romantic comedy is usually regarded as a sub-genre that celebrates heterosexual love and marriage; however, these presumptions that romantic comedy contains a heterosexual tradition of love and celebrates marriage as the symbol of social harmony seem to be problematic considering As You Like It and Twelfth Night. Although these two plays are classified as romantic comedies, they portray homoerotic potentials through the gender ambivalence of the cross-dressed heroines and they also present the questioning and the deflation of marriage. In the first chapter, I examine various discussions of romantic comedy in order to trace romantic comedy conventions of love, including a central love story plot, ordeals, wooing, and marriage. Further, I investigate certain critics’ “problematic” presumptions based on these conventions that Shakespearean romantic comedy contains a heterosexual love tradition and celebrates marriage as the reaffirmation of social harmony. In the second chapter, I look into the employment of homoerotic potentials in As You Like It and Twelfth Night. The gender ambivalence produced by the cross-dressing of Rosalind in As You Like It and Viola in Twelfth Night creates space for homoerotic potentials to surface in the course of heterosexual love. In the final chapter, I explore the questioning and the deflation of marriage by examining the modifications of such conventions as ordeals, wooing, and marriage in both plays. To conclude, I propose that the modifications of conventions in the plays not only create more interpretative possibilities but also indicate that conventions are never prescriptive rules. Therefore, we should not respond uncritically to conventions in these two plays. Despite their ostensible celebration of heterosexual love and marriage, As You Like It and Twelfth Night accentuate homoerotic potentials and question the value and stability of marriage.

    Table of Contents Introduction……………………………………………………………1 Chapter One Conventions of Love in Romantic Comedy and Shakespeare……5 Chapter Two A Playground for Gender Ambivalence and Homoeroticism……24 Chapter Three Shakespeare’s Treatment of the Conventional Course of Love: The Questioning of Marriage………………………………………60 Conclusion……………………………………………………………88 Works Cited……………………………………………………………91

    Works Cited
    Abrams, M. H.. A Glossary of Literary Terms. 7th ed. Fort Worth: Harcourt Brace College P, 1999.
    As You Like It. Dir. Christine Edzard. Perf. Emma Croft, Andrew Tiernan, and Celia Bannerman. 1992. Videocassette. Buena Vista, 1992.
    As You Like It. Dir. Paul Czinner. Perf. Laurence Olivier and Elisabeth Bergner. 1936. DVD. Image Entertainment, 1999.
    Baird, Vanessa. The No-Nonsense Guide to Sexual Diversity. London: New Internationalist, 2001.
    Barber, C. L.. Shakespeare’s Festive Comedy: A Study of Dramatic Form and its Relation to Social Custom. 1959. Princeton: Princeton UP, 1972.
    Barton, Anne. “Shakespeare’s Sense of an Ending in Twelfth Night.” Wells, Twelfth Night 303-10.
    Bates, Catherine. “Love and Courtship.” The Cambridge Companion to Shakespearean Comedy. Ed. Alexander Leggatt. Cambridge: Cambridge UP, 2002. 102-22.
    Butler, Judith. Gender Trouble: Feminism and the Subversion of Identity. 1990. New York: Routledge, 1999.
    Capellanus, Andreas. The Art of Courtly Love. Trans. John Jay Parry. New York: Columbia UP, 1990.
    Charles, Casey. “Gender Trouble in Twelfth Night.” Theater Journal 49 (1997): 121-41.
    Charlton, H. B.. Shakespearian Comedy. 1938. London: Methuen, 1966.
    Cunningham, Dolora G.. “Wonder and Love in the Romantic Comedies.” Shakespeare Quarterly 35.3 (1984): 262-66.
    Danson, Lawrence. Shakespeare’s Dramatic Genres. Oxford Shakespeare Topics. New York: Oxford UP, 2000.
    Deleyto, Celestino. “Men in Leather: Kenneth Branagh’s Much Ado about Nothing and Romantic Comedy.” Cinema Journal. 36.3 (1997): 91-105. Academic Search Premier. 26 Dec. 2003. < http://search.epnet.com/direct.asp?an=1121004&db=aph >.
    DiGangi, Mario. “Queering the Shakespearean Family.” Shakespeare Quarterly 47.3 (1996): 269-90.
    Draper, R. P.. “Romantic Sentiment.” Analyzing Shakespeare’s Comedies. London: Macmillan, 2000. 55-70.
    Frye, Northrop. The Anatomy of Criticism: Four Essays. 1957. Princeton: Princeton UP, 1971.
    - - -. A Natural Perspective: the Development of Shakespearean Comedy and Romance. 1965. New York: Columbia UP, 1995.
    Garber, Marjorie. Vested Interests: Cross-Dressing and Cultural Anxiety. New York: Routledge, 1992.
    Gardner, Helen. “Let the Forest Judge.” Shakespeare: Much Ado about Nothing and As You Like It. Ed. John Russell Brown. Casebook Ser. London: Macmillan, 1979. 149-66.
    Greenblatt, Stephen. Ed. The Norton Shakespeare: Based on the Oxford Edition. New York: Norton, 1997.
    Hasler, J&ouml;rg. “The Dramaturgy of the Ending of Twelfth Night.” Wells, Twelfth Night 279-302.
    Howard, Jean E.. “Cross-dressing, the Theater, and Gender Struggle in Early Modern England.” Crossing the Stage: Controversies on Cross-dressing. Ed. Lesley Ferris. London: Routledge, 1993. 20-46.
    - - -. “Introduction to As You Like It.” Greenblatt 1591-99.
    Jardine, Lisa. Still Harping on Daughters: Women and Drama in the Age of Shakespeare. New York: Columbia UP, 1989.
    ---. “Twins and Travesties: Twelfth Night.” Zimmerman 27-38.
    Jenkins, Harold. “Shakespeare’s Twelfth Night.” Wells, Twelfth Night 171-90.
    Lennox, Patricia. “A Girl’s Got to Eat: Christine Edzard’s Film of As You Like It.” Transforming Shakespeare: Contemporary Women’s Re-Visions in Literature and Performance. Ed. Marianne Novy. London: Macmillan, 1999.
    Marshall, Cynthia, ed. As You Like It. Shakespeare in Production Ser. Cambridge: Cambridge UP, 2004.
    McDonald, Russ. The Bedford Companion to Shakespeare: An Introduction with Documents. Boston: Bedford, 1996.
    Meader, William G.. Courtship in Shakespeare: Its Relation to the Tradition of Courtly Love. 1952. New York: Octagon Books, 1971.
    Nunn, Trevor. William Shakespeare’s Twelfth Night: A Screen Play. London: Methuen, 1996.
    Orgel, Stephen. Impersonations: The Performance of Gender in Shakespeare’s England. Cambridge: Cambridge UP, 1996.
    Ornstein, Robert. Shakespeare’s Comedies: From Roman Farce to Romantic Mystery. 1986. London: Associated UP, 1994.
    Phialas, Peter G.. Shakespeare’s Romantic Comedies: The Development of Their Form and Meaning. Chapel Hill: U of North Carolina P, 1966.
    Rackin, Phyllis. “Androgyny, Mimesis, and the Marriage of the Boy Heroine on the English Renaissance Stage.” PMLA 102 (1986): 29-41.
    ---. “Foreign Country: The Place of Women and Sexuality in Shakespeare’s Historical World.” Enclosure Acts: Sexuality, Property, and Culture in Early Modern England. Ed. Richard Burt and John Michael Archer. Ithaca: Cornell UP, 1994. 69-95.
    ---. “Shakespeare’s Crossdressing Comedies.” A Companion to Shakespeare’s Works: Volume III. The Comedies. Ed. Richard Dutton and Jean E. Howard. Malden: Blackwell, 2003. 114-36.
    Rose, Mary Beth. The Expense of Spirit: Love and Sexuality in English Renaissance Drama. Ithaca: Cornell UP, 1988.
    Ruthwell, Kenneth S.. A History of Shakespeare on Screen: A Century of Film and Television. Cambridge: Cambridge UP, 1999.
    Salingar, L. G.. “The Design of Twelfth Night.” Wells, Twelfth Night 191-226.
    Shakespeare, William. As You Like It. Greenblatt 1591-657.
    ---. Twelfth Night. Greenblatt 1768-821.
    Sinfield, Alan. “Shakespeare and Dissident Reading.” Cultural Politics—Queer Reading. Philadelphia: U of Pennsylvania P, 1994. 1-20.
    Singer, Irving. The Nature of Love Volume 2: Courtly and Romantic. Chicago: U of Chicago P, 1984.
    Smith, Bruce R.. Homosexual Desire in Shakespeare’s England: A Cultural Poetics. 1991. Chicago: U of Chicago P, 1994.
    ---, ed. William Shakespeare: Twelfth Night or What You Will: Texts and Contexts. Boston: Bedford/St. Martin’s, 2001.
    Smith, Hallett, and Barbara Lewalski, eds. “The Sixteenth Century (1485-1603): Introduction.” The Norton Anthology of English Literature: Volume I. Gen. Ed. M. H. Abrams. 6th ed. New York: Norton, 1993. 395-413.
    Suddenly Last Summer: St. Sebastian. 9 June 2000. Dept. of Theatre & Drama, Indiana U.. 31 Oct. 2004. <http://www.indiana.edu/~thtr/1999/Suddenly/
    Sebastian.htm >.
    Tennenhouse, Leonard. “Power on Display: The Politics of Shakespeare’s Genres.” New Casebooks: Twelfth Night. Ed. R. S. White. London: Macmillan, 1996. 82-91.
    Traub, Valerie. Desire and Anxiety: Circulation of Sexuality in Shakespearean Drama. London: Routledge, 1992.
    ---. “Gender and Sexuality in Shakespeare.” The Cambridge Companion to Shakespeare. Ed. Margreta De Grazia and Stanley Wells. Cambridge: Cambridge UP, 2001. 129-46.
    ---. “The (In)Significance of ‘Lesbian’ Desire in Early Modern England.” Zimmerman 150-69.
    Twelfth Night. By William Shakespeare. Dir. Kenneth Branagh. Perf. Frances Barber, Christopher Ravenscroft, and Caroline Langrishe. 1988. DVD. Fremantle, 2004.
    Twelfth Night. Dir. Trevor Nunn. Perf. Imogen Stubbs, Toby Stephens, and Helena Bonham Carter. 1996. Videocassette. New Line, 1997.
    Wells, Stanley. Introduction. Wells, Twelfth Night ix-xiv.
    ---, ed. Twelfth Night: Critical Essays. New York: Garland, 1986.
    Zimmerman, Susan, ed. Erotic Politics: Desire on the Renaissance. London: Routledge, 1992.

    QR CODE