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標題: The Political Implications of the Body in Samuel's Beckett's Endgame, Jean Genet's The Balcony, and Daivid Henry Hwang's M. Butterfly
身體的政治意涵: 貝克特的<殘局> 惹內的<包廂>與黃哲倫的<蝴蝶君>
作者: 潘衍至
Pan, Yean-zyh
關鍵字: body
Samuel Beckett
Jean Genet
The Balcony
M. Butterfly
出版社: 外國語文學系研究所
摘要: This thesis attempts to examine the political impications of the body in Samue l Beckett's Endgame, Jean Genet's The Balcony, and David Henry Hwang's M. Butt erfly. This examination will concentrate on various political inscriptionson the characters' bodies, and these bodies' reactions to different modes of oppr ession. Chapter One, the Introduction, focuses on the intricate complexities between the body and power, mainly based on Michel Foucault's observations on the &quot;micro-politics&quot; in his genealogical research. Chapter Twoinvestigates th e docile bodies in Beckett's Endgame, which are susceptible to punishment in o ne way or another. Set in a claustrophic interior of a house, the political l ocale of the play is rather domestic. Disguised as a father figure, Hamm keep s Clov beside him by means of ethical discourse. Yet, wantingin parental affe ction, Hamm exploits Clov's utilizable body. Chapter Three is a study in Gene t's The Balcony, trying to demonstrate how the real body gives way to an illus ory body in their recreation/revolution. Due to the revolutionaries'frivolous attitude toward revolution, it is difficult to distinguish the revolution an d recreation in the play. Without serious cause for revolution,the revolution aries meet immediate danger of losing their bodies and the failure of their re volution. Chapter Four, an analysis of David Henry Hwang's M. Butterfly, illu strates the performative potentialities of the body against theclassificatory system of power discourse. The way in which the colonized Orientmakes fool of the Western colonizer also receives considerable discussion. Chapter Five, t he Conclusion, sums up the foregoing arguments and give a brief discussion of the relationship between theatricality and power.
本篇論文的主旨, 在於檢視貝克特 (Samuel Beckett) 的<殘局> (Endgame), 惹內 (Jean Genet) 的<包廂> (The Balcony), 以及黃哲倫 (David Henry Hwang) 的 <蝴蝶君> (M. Butterfly) 三劇中身體的政治意涵. 這項檢視著重劇中角色的身體如何遭受外力的政治 書寫, 以及角色對不同形式的壓迫有何反應.
Appears in Collections:外國語文學系所



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