展演/實踐癌症敘述：瑪格麗特·愛德森的《機智》和莎拉· 魯爾的《窗明几淨》

Abstract

本文以癌症為背景，探討表演、時間性和疾病敘述之間的聯繫。論文的第一部分集中於瑪格麗特·愛德森 (Margaret Edson) 的戲劇《機智》，以及該劇納入酷兒時間以抵制治療性想像而偏離傳統的癌症敘事。論文的第二部分分析了莎拉·魯爾 (Sarah Ruhl) 的戲劇《窗明几淨》，以及該劇將癌症患者的身份擴大到美國中上層白人女性以外的族裔，藉以重建癌症的烏托邦概念。由酷兒理論視角的觀察，本論文認為這兩部劇提供了關於疾病敘述的另類視角，挑戰了醫學人文領域的主流思想實踐。通過使用荷西·埃斯特班·穆尼奧斯 (José Esteban Muñoz) 、莎拉·艾哈邁德(Sara Ahmed) 和凱西·科恩(Cathy Cohen) 等酷兒理論家的理論，本論文企圖為與戲劇、時間性和酷兒身份有關的疾病論述開闢批判和理解的新路徑。

This thesis explores the connection between performance, temporality, and illness narratives in the context of cancer. The first part of the thesis focuses on Margaret Edson’s play, Wit, and its departure from traditional cancer narratives by incorporating queer time to resist the curative imagination. The second part of the thesis analyzes Sarah Ruhl’s play, The Clean House, and its reconstruction of the concept of cancer utopia by broadening the identity of cancer patients beyond upper-middle-class white American females. Through the lens of queer theories, this thesis argues that these two plays provide an alternative perspective on illness narratives that challenges the dominant practices of thought in the field of medical humanities. By using occasions and examples of queer theorists such as José Esteban Muñoz, Sara Ahmed, and Cathy Cohen, this thesis aims to open up new possibilities for critique and understanding of illness narratives in relation to performance, temporality, and queer identities.