淡江大學覺生紀念圖書館 (TKU Library)

系統識別號 U0002-2007200709552100
中文論文名稱 西爾維亞•柏拉絲《鐘形瓶》的意象之研究
英文論文名稱 A Study of Images in Sylvia Plath's The Bell Jar
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 95
學期 2
出版年 96
研究生中文姓名 李佳陽
研究生英文姓名 Chia-Yang Lee
學號 692010308
學位類別 碩士
語文別 英文
口試日期 2007-06-23
論文頁數 101頁
口試委員 指導教授-宋美璍
中文關鍵字 女性迷思  無名的問題  意象  克莉絲蒂娃  棄卻  自我中的異者 
英文關鍵字 Feminine Mystique  The Problem That Has No Name  Image  Kristeva  abjection  The Alterity Within 
學科別分類 學科別人文學語言文學
中文摘要 本論文旨在探討西爾維亞•柏拉絲《鐘形瓶》中的意象。第一章所探討的是柏拉絲身為五零年代女性及女性作家的焦慮。柏拉絲身處的五零年代的美國社會,其在婚後深刻地體會身為已婚婦女,需背負當時的美國社會對女性角色的期許與個人理想的衝突;作者透過小說主角艾絲特的焦慮映照出現實生活中的困境。
書寫「棄卻」的意象,柏拉絲也體驗了主體建構的中介階段,克莉絲蒂娃主張人們面對自我中的異者(alterity within the self) ,而非逃避它。僅管殘缺的身體在小說中令人厭惡,柏拉絲同時也在這個書寫的過程中展現了她面對自我中的異者的勇氣。
英文摘要 This thesis studies images in The Bell Jar. I divide images into two groups. The first group refers to thematic images of the novel. They include images such as The Rosenbergs electrocution/electroshock therapy, fig tree/fruit, bell jar, Lady’s Day fashion magazine. This thesis argues that Sylvia Plath creates thematic images to represent women’s under repression, thereby Plath pointing to a binary narrative pervasive in a masculine society. On the other hand, I use Julia Kristeva’s concept of abjection to approach disabled body images in the novel. Abject body images tap into an in-between condition as the onset of the subject formation. They lead the readers on a journey of subject formation. Disabled body images allude to more than Esther’s wounds. They are symptomatic of a psyche that has yet to come to terms with “the stranger within.”
Writing abject bodies, Sylvia Plath also experiences an interspace between self and other, an estranging journey that Kristeva suggests people should confront instead of eschewing it. Depicting disabled body functions, which are usually regarded as unfavorable and deviating from the normal, Plath shows her effort to face the stranger within herself.
論文目次 Table of Contents
Introduction 1
Chapter One: Sylvia Plath under Repression 16
Chapter Two: Writing the Repression 44
Chapter Three: Writing On the Border of Abjection 72
Conclusion 91
Works Cited 97
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