發(fā)布時間：2018-04-17 00:39

  本文選題：自我 + 他者��； 參考：《廣西大學》2015年碩士論文

【摘要】：新加坡最著名的劇作家之一郭寶]是一位有著華裔背景和海外留學經歷的英漢雙語劇作家。他的生活經歷暗示了其自身的文化混雜性,同時這篇論文所研究的他的戲劇作品也具有較為明顯的文化混雜性的特點。這篇論文研究的戲劇作品《鄭和的后代》因其形式以及內容上的碎片性而顯得晦澀難懂。它是一部英語劇作,其中卻夾雜著中文、馬來語、泰米爾語以及印度語；并且作者用英語熟練而生動地描述、探討著“宦官”這一發(fā)生在中國古代的文化現象。該劇的以上藝術特點以及作者本身所體現出來的文化混雜特性是值得研究的。目前,國內外對郭寶]及其戲劇作品的學術研究尚處于起步階段,對其相關的研究空間仍十分可觀�！白晕摇迸c“他者”一直是二元對立結構中的兩極,其中“自我”是二者中處于中心地位、具有優(yōu)先特權的一極。在解構主義中,“自我”與“他者”之間的二元對立被不停地批判與消解,并且“他者”終于開始在理論中占領上風。在拉康的鏡像理論中,嬰兒第一次認識到自己的個體完整性是通過其在鏡中的影像。那個影像是外在于它的,對其來說是一個他者。嬰兒將與那個外在的影像產生認同,并將其當做自己的形象。拉康認為與之相似的認同過程在人的一生中都會不斷發(fā)生。這意味著“自我”其實是經由“他者”構造出來的。拉康同時認為,鏡像階段之后當人們開始學習語言,他們便開始被處于象征域中的“大寫他者”所約束與控制�！按髮懰摺笔歉鞣N符號系統(tǒng)如語言結構、以及各種社會關系的集合�；谝陨侠碚摶A,這篇論文研究了戲劇作品《鄭和的后代》中的自我以及他者的形象。在作品中不可靠的敘述者的形象代表了“自我”的形象,而文中鄭和的形象則代表了“他者”的形象。沒有明確身份的不可靠的敘述者最終與鄭和產生了認同,他與鄭和在文中形成了一個混雜體。該敘述者因此重獲了自己的文化身份,而這個文化身份是一種混雜性的身份,它治好了敘述者的失語癥并且在身份混雜性上使其成為了一個“鄭和的后代”。文中所構造的語言以及文化的異托邦為敘述者與鄭和的這種混雜創(chuàng)造了環(huán)境。這些異托邦是與“大寫他者”協(xié)商的結果。該作品中的敘述者與鄭和之間的混雜象征著“自我”與“他者”的混雜。因此該論文認為這部戲劇作品探索了消解“自我”與“他者”間二元對立的新的可能性。該可能性可以通過“自我”與“他者”之間的混雜來實現,并且是在作為與“大寫他者”的協(xié)商結果的異托邦中得以實現的。
[Abstract]:Guo Bao, one of Singapore's most famous playwrights, is an English-Chinese bilingual playwright with Chinese background and overseas study experience.His life experience implies his own cultural intermixture, and his drama works studied in this paper also have obvious characteristics of cultural hybridity.The play studied in this paper, the descendant of Zheng he, is obscure because of its fragmentation in form and content.It is a play in English, which is mixed with Chinese, Malay, Tamil and Hindi, and the author describes it skillfully and vividly in English and explores the cultural phenomenon of eunuchs in ancient China.The above artistic features of the play and the cultural confounding characteristics embodied by the author themselves are worth studying.At present, the academic research on Guo Bao and his dramatic works is still in its infancy at home and abroad, and the relevant research space is still considerable."self" and "other" have always been the two poles in the dual opposites structure, in which "self" is the pole with priority and privilege.In deconstruction, the dualistic opposition between "self" and "other" is constantly criticized and dispelled, and the "other" finally begins to gain the upper hand in theory.In Lacan's mirror image theory, babies realize for the first time that their individual integrity is through their image in the mirror.The image is external to it and to it is another.The baby will identify with the external image and regard it as its own image.Lacan believes that a similar process of identity occurs throughout one's life.This means that the self is actually constructed by the other.Lacan also believes that when people begin to learn languages after the mirror phase, they begin to be constrained and controlled by the "uppercase others" in the symbolic domain.Uppercase other is a collection of symbolic systems such as linguistic structures and social relations.Based on the above theoretical basis, this paper studies the self and the image of the other in the drama the descendant of Zheng he.The image of the unreliable narrator in the works represents the image of "self", while the image of Zheng he in the text represents the image of "the other".The unreliable narrator with no clear identity is identified with Zheng he, and he and Zheng he form a mixed body in the text.As a result, the narrator regained his own cultural identity, which is a mixed identity, which cured the narrator's aphasia and made it a "descendant of Zheng he" in terms of identity confounding.The language and cultural heterotopia created the environment for the mixture of narrator and Zheng he.These heterodonts are the result of negotiations with the Capital others.The mixture of narrator and Zheng he symbolizes the mixture of self and other.Therefore, the paper argues that the play explores the new possibility of dissolving the duality between the self and the other.This possibility can be realized by mixing the self and the other, and is realized in a heterotopia as a result of negotiation with the uppercase other.
【學位授予單位】：廣西大學
【學位級別】：碩士
【學位授予年份】：2015
【分類號】：I339.073

【參考文獻】

相關期刊論文 前2條

1 陶家俊;身份認同導論[J];外國文學;2004年02期

2 劉文;;拉康的鏡像理論與自我的建構[J];學術交流;2006年07期

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本文編號：1761324