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dc.contributor.advisorShu-ching Chenen_US
dc.contributor.authorLuo, Yi-tingen_US
dc.description.abstractAbstract 本篇論文主要探討的是菲裔女作家潔西卡.海格苳小說『吃狗肉的人』中所勾勒的後殖民菲律賓特殊的文化、政治、經濟處境。小說的歷史背景是六零年代末期馬可仕主政時期的菲律賓。經歷過約莫四百年的殖民時期,後殖民時期的菲律賓不但受殖民文化的影響,也顯然深受美國全球文化、軍事、經濟霸權的宰制。小說描寫的層次涵括了馬尼拉上流社會與下層階級的生活群相。一方面勾勒上流社會企業鉅子、仕女養尊處優、崇洋望美的生活故事。此外,潔西卡.海格苳也借著描寫總統、總統夫人、軍方高層的言行舉止來影射馬可仕政府與美國霸權的共謀。一方面塗寫妓女、舞男、皮條客、桿弟、售貨員等下層民眾試圖在惡劣的生活情境中找到生存之道,發財、出名得以晉升上流社會、或是得到綠卡而後逃出菲律賓。 本篇論文分為三章。第一章勾勒出小說中美國全球化的電影文化如何進入菲律賓人民的認同想像,並且成為中介、監控、馴服在地人民人際關係與自我概念的重要媒介。而這也使得亞美文學的母題-母女關係-產生重大的變化。第二章探討由菲國政府大力倡導的觀光旅遊業,不但沒有為菲律賓代帶來廣大的經濟效應,對來自前殖民國觀光客的百依百順更象徵著後殖民菲律賓對前殖民國的經濟依賴。同時,這種依賴關係也可以寫入一種陰性與陽性的消長關係。這種陰性和陽性關係使馬尼拉成為外國觀光客的情慾天堂,而本地人民的身體成為觀光客的慾望客體。第三章探討本地人民身體的主體動能。首先我先再述在國內、外兩股權力勾結下,人民的身體經歷了多層次的心理與社會銘刻,似乎顯得難以逃脫。但是,在潔西卡.海格苳筆下本地人民的身體卻不斷的演現身體的主體動能以拒絕、干擾權力的銘刻。換言之,本地人民不是被動地被寫入宰制者的權力架構中,他們的身體的主體動能也能成為ㄧ種抗拒的策略。zh_TW
dc.description.abstractThis thesis examines the special cultural, political, and economic conditions in the post-colonial Philippines in the work of Jessica Hagedorn's Dogeaters. Dogeaters portrays the Filipino society during the Marcos regime. After over a four-hundred-year colonial rule, the colonial legacy still haunts and possesses the Philippines. Moreover, the Philippines are ostensibly subjected to American global hegemony in culture, politics, and economy. Hagedorn concerns with the varied and complex communities inhabiting the postcolonial Philippines. On the one hand, Hagedorn portrays how the middle class and the government live a wealthy life anchored at their American fantasy. Through the portrayal of the president, the First lady, and the henchmen, Hagedorn lays bare the Marcos regime's involvement with the American hegemony. On the other hand, Hagedorn gives an account of the miserable condition of the low class, varying from the prostitute, shower dancers, the pimp, the caddy, and the saleswomen. The body of the thesis is comprised of three chapters that address the postcolonial Philippines. The first chapter reveals how Hollywood cinematic images in Dogeaters influences the imaginary of the Philippines. In other words, the Hollywood cinematic images are able to mediate, supervise, and determine the Philippines' conception of self and mother- daughter relations. The second chapter exemplifies the government's promotion of tourism in Dogeaters which perpetuates the Philippines dependence on the First world country, turns Manila into the erotic paradise for the foreigners, and the Filipinos into the object of the gaze of the foreigners. The third chapter points out the bodily agency of the Filipinos. In face of different disciplinary power, both external and domestic, the bodies of the Philippines are not just passive entity inscribed by the different kinds of power but subjects with alternative agency against the inscription of power.en_US
dc.description.tableofcontentsCONTENTS CHINESE ABSTRACT i ENGLISH ABSTRACT ii INTRODUCTION 1 CHAPTER ONE THE ENCOUNTER BETWEEN THE HOLLYWOOD AND MANILA 16 ⅠFrom Panopticon to Synopticon 18 Ⅱ Psychological Reading of the Synopticon 24 Ⅲ The Encounter between Filipinas and Hollywood 27 Ⅳ Disrupting the Maternal Line 30 CHAPTER TWO THE POSTCOLONIAL TOURISM TRAP 38 ⅠTourism as a Postcolonial Trap 39 Ⅱ Sexual Economies and Tourism 42 Ⅲ Whose Paradise? 46 Ⅳ Erotic Paradise, Erotic Bodies 51 CHAPTER THREE REPRESENTATIONS OF FEMALE BODIES IN DOGEATERS 64 ⅠRefiguring Bodies 66 Ⅱ The Beauty Pageant and the Subordination of Women 70 Ⅲ Daisy's Beautiful Body 75 Ⅳ Baby's Ugly Body 83 CONCLUSION 93 WORK CITED 96zh_TW
dc.subjectmother-daughter relationshipen_US
dc.subjectpostcolonial tourism trapen_US
dc.subjectbody politicsen_US
dc.titleCultural Imperialism and Body Politics in Jessica Hagedorn's Dogeatersen_US
dc.typeThesis and Dissertationzh_TW
item.openairetypeThesis and Dissertation-
item.fulltextno fulltext-
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