Browsing by Author "Ching-fang Tseng"

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The Flaneur, the Flaneuse, and the Hostess
(英語學系, 2006-01-??) Ching-fang Tseng
The Lily Pool, the Mirrors, and the Outsiders
(英語學系, 2012-03-??) Ching-fang Tseng
Written against the historical context of the threats of fascism and World War II, Between the Acts’s portrayal of rural England that highlights its traditional way of life, the everlasting rural landscape, and the pageant then in vogue seemingly echoes the prevailing national imagination during the war-crisis years. Rather than replicating the nostalgic ruralist vision of England on the verge of war, the novel not only furthers Woolf’s critique of the dictators in England in Three Guineas, but also enacts the essay’s visionary idea of the “Outsiders’ Society” in the setting of the English country. A prominent figure in Between the Acts is the cultivated observer in rural England, who is there to apprehend landscape as well as the universal evolutionary order. Encapsulating the ocularized social power of the ruling landowning class, he embodies Englishness and “civilization” as the apex of the developmental progress of humankind. Woolf responds to such Englishness by positing episodes in the novel involving La Trobe’s village pageant. The pageant invokes an “Outsiders’ Society” composed of heterogeneous, anonymous private spectators in resistance to the hegemonic perception of the gentry-audience, thus making the latter think home landscape, “Ourselves,” and civilization in a different light. At the same time, the “Outsiders’ Society” is also enacted through Between the Acts’s multi-layered, open-ended, and self-reflexive form, which disallows closure and totality of meaning and predominance of the authorial vision.
The Lily Pool, the Mirrors, and the Outsiders
(英語學系, 2012-03-??) Ching-fang Tseng
Written against the historical context of the threats of fascism and World War II, Between the Acts’s portrayal of rural England that highlights its traditional way of life, the everlasting rural landscape, and the pageant then in vogue seemingly echoes the prevailing national imagination during the war-crisis years. Rather than replicating the nostalgic ruralist vision of England on the verge of war, the novel not only furthers Woolf’s critique of the dictators in England in Three Guineas, but also enacts the essay’s visionary idea of the “Outsiders’ Society” in the setting of the English country. A prominent figure in Between the Acts is the cultivated observer in rural England, who is there to apprehend landscape as well as the universal evolutionary order. Encapsulating the ocularized social power of the ruling landowning class, he embodies Englishness and “civilization” as the apex of the developmental progress of humankind. Woolf responds to such Englishness by positing episodes in the novel involving La Trobe’s village pageant. The pageant invokes an “Outsiders’ Society” composed of heterogeneous, anonymous private spectators in resistance to the hegemonic perception of the gentry-audience, thus making the latter think home landscape, “Ourselves,” and civilization in a different light. At the same time, the “Outsiders’ Society” is also enacted through Between the Acts’s multi-layered, open-ended, and self-reflexive form, which disallows closure and totality of meaning and predominance of the authorial vision.
王爾德與比亞茲來的莎樂美　與「致命女性形象」
(2007) 林峰聖; Lin, Feng-Sheng
本論文旨在探討王爾德劇作《莎樂美》與比亞茲萊為其所繪插圖之中的性／別元素，特別是二人所創造出的莎樂美一角與「致命女性」形象之關係。王爾德與比亞茲來二人作品中皆呈現了具驚駭效果之性／別元素，在當時亦皆引起相當批判；而其中引起爭議的部分皆與二人呈現「變態」（perversity）與「色情」（pornography）元素相關。此外，許多評論者亦特別指出比亞茲來作品與王爾德原著之不同；事實上，比亞茲來為王爾德此劇所繪插圖中最具爭議性的部分可能就是其「時代錯置」（anachronism）之設計；此類設計很可能創造出了更具顛覆性之效果。本論文分為三章。第一章探討「致命女性」形象之重要特色以及這些特色在文學藝術作品中之呈現。本章觀察了一些十九世紀具代表性的「致命女性」作品，並將焦點特別放在濟慈的詩《無情美人》及數幅前拉斐爾派畫作，包括了羅賽蒂的《李莉斯貴婦人》與瓦特豪斯的《無情美人》。第二章討論王爾德劇作《莎樂美》，特別是其中呈現之「變態」、以及其莎樂美與先前「致命女性」之關聯。此章研究以十九世紀末焦慮為背景之「變態」，探究王爾德之莎樂美為「變態女性」的身份，並進一步將之與先前十九世紀英國「致命女性」作比較。第三章探討比亞茲來的莎樂美插圖，聚焦於這套作品中性／別元素與「色情」之聯結、以及為何比亞茲來的莎樂美被視為「致命女性」。此章並比較王爾德與比亞茲來在其莎樂美創作中運用性／別元素之方式。
異地空間的意涵: 以吳爾芙的<出航>與<奧蘭朵>為例
(2007) 廖慧雯; Huiwen Liao
摘要本論文主要探討吳爾芙《出航》與《奧蘭朵》中異地空間的意涵，兩本小說的故事背景同時發生在英國社會與殖民領地，此外兩本書中的女主角的蛻變都不約而同地發生在異地而非英國本土。在《出航》中，瑞秋(Rachel)抵達南美洲後，才漸漸學習如何與英國人相處互動；而在《奧蘭朵》中，令人咋舌的變性(sex change)發生於土耳其境內。吳爾芙對異地空間的鋪陳有極具重大意義，一方面異地的鋪陳協助瑞秋學習性別意識型態；另一方面它讓不可能發生的變性事件成真。因此，本論文主要探討為何異地空間在兩本小說中是不可獲缺的，瑞秋可以在英國本土學習成長嗎？奧蘭朵的變性有可能發生在英國社會中嗎？除此之外，我更檢視吳爾芙對異地空間的呈現，尤其是她的貢獻與侷限處。本論文包含三章。第一章我主要討論吳爾芙如何揭露潛在性別意識型態的運作，還有她如何把女性的成長過程錯置於異地空間中，藉此她進而強化女主角瑞秋對女性性別角色的抗拒。本章中我藉重Pollock的領域劃分意識形態分析與Shoemaker在婚姻體制中男女角色的觀察。第二章我討論奧蘭朵如何從異地空間中習得的特殊經驗，此經驗如何授與她力量來踰越性別空間二元對立。我借助Piehler 和Walkowitz的研究來幫助我了解《奧蘭朵》中的想像空間。最後一章，我主要探討吳爾芙的旅行書寫與異地空間的呈現。根據Mills的理論，我認為吳爾芙最主要的成就在於她修正男性旅行書寫的傳統。