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系統識別號 U0002-1907200921370600
中文論文名稱 現實到隱喻:湯瑪士‧彌德頓城市喜劇中的潛在市景
英文論文名稱 From Reality to Metaphor: Latent Cityscape in Thomas Middleton’s City Comedies
校院名稱 淡江大學
系所名稱(中) 英文學系碩士班
系所名稱(英) Department of English
學年度 97
學期 2
出版年 98
研究生中文姓名 吳順裕
研究生英文姓名 Shun-Yu Wu
學號 694010272
學位類別 碩士
語文別 英文
口試日期 2009-06-15
論文頁數 89頁
口試委員 指導教授-王慧娟
委員-宋美璍
委員-王慧華
中文關鍵字 湯瑪士‧彌德頓  城市喜劇  市景  隱喻  異質空間  製圖  詭計  前現代倫敦 
英文關鍵字 Thomas Middleton  city comedies  cityscape  metaphor  heterotopias  mapping  trickery  early modern London 
學科別分類 學科別人文學語言文學
中文摘要 劇院的建造提供前現代倫敦人一種新的日常娛樂空間。十七世紀初,城市喜劇以尖刻描繪當代社會之姿崛起。劇作家中,湯瑪士‧彌德頓的作品,不僅僅反映出社會現實,亦呈現對於該城市的願景。
本論文檢視前現代的倫敦在彌德頓城市喜劇中的再現。當中城市可分為現實與隱喻的樣貌。在舞台上,商業交易的戲碼呈現出以文化及地誌市景為主的現實。藉由設計、佈局交易中的詭計,城市景觀成為商業世界的縮影。彌德頓如製圖般的全景標記出當地受到商業活動染指的空間。甚者,世界在對白中被置換為一種隱喻。筆者認為此一時空置換,實為彌德頓創造城市願景的意圖。而當此願景與現實相遇,舞台空間轉換為傅柯所指的「異質空間」。
第一章闡明詭計中騙子與憨人(受騙者)角色差異。兩者之間的角色互換意指市民之間的權力糾葛。第二章辨明佈景中的公共空間與私密空間,及其所影射之所在地方。充滿文化意涵的市景藉由不同空間之間的連續性而展現。第三章道出劇作家如何運用對白中的隱喻來創造城市願景。最後,筆者以潛在市景一詞來總結。
英文摘要 The building of theaters provided a new space of daily entertainment for early modern Londoners. City comedy was emergent in early seventeenth century, which depicted the contemporary society satirically. Thomas Middleton was one of the playwrights whose plays represent not only the social reality, but also a vision of the city.
This thesis examines the representation of early modern London in Middleton’s city comedies. Such representation includes two parts: reality and metaphor of the city. On stage, reality is portrayed as the cultural and topographical cityscape dominated by issues of commercial transaction. By plotting and setting the trickery in any forms of transaction, the cityscape becomes a microcosm of commercial world. Middleton offers a panoramic view of his contemporary society by mapping the places with the connotations of commercial spaces in his plays. Further, the world is displaced by the device of metaphor in dialogues. I argue that the displacement of time and space implies Middleton’s attempt to create a vision of the city. When the vision encounters with reality, the theatrical spaces are turned to be what Michel Foucault called “heterotopias.”
Chapter One clarifies the roles in trickery which are mainly divided into tricksters and gulls, the victims of tricks. The change of roles between tricksters and gulls refer to the power struggle among citizens. Chapter Two distinguishes the settings from the public to the private spaces and their corresponding places. By showing the continuum among different spaces, the cityscape filled with cultural meanings is displayed on stage. Chapter Three points out how metaphors in dialogues serve to the playwright’s intention to create a vision of the city. Finally, I conclude this vision with the latent cityscape.
論文目次 Introduction

i. Jacobean City Comedy and Thomas Middleton (1)
ii. Plotting, Setting, and Displacing: Middleton’s Strategies for Representation (3)
iii. Cityscapes in Middleton’s City Comedies (13)

Chapter One Plotting: Cultural Cityscape (16)
i. Credit (17)
ii. Marriage (22)
iii. Death (29)

Chapter Two Setting: Topographical Cityscape (38)
i. Streets and Shops (42)
ii. Houses and Chambers (45)
iii. The Church (55)

Chapter Three Displacing: Metaphorical Cityscape (58)
i. Metaphors of Animals (59)
ii. Metaphors of Water (65)
iii. Metaphors of Land (75)

Conclusion (81)

Works Cited (85)
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