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    題名: 邱琪爾之《醋湯姆》與《頂尖女子》中與父權共謀的女人
    The women’s collusion with patriarchy in Caryl Churchill's Vinegar Tom and Top Girls
    作者: 吳珮瑄
    Wu, Pei-Xuan
    貢獻者: 姜翠芬
    Jiang, Tsui-Fen
    吳珮瑄
    Wu, Pei-Xuan
    關鍵詞: 女性主義
    階級
    資本主義
    共謀
    Feminism
    Class
    Capitalism
    Collusion
    日期: 2018
    上傳時間: 2018-04-09 15:38:48 (UTC+8)
    摘要: 凱蘿‧邱琪兒在《醋湯姆》和《頂尖女孩》主要運用社會女性主義的觀點,探討女性在資本主義與父權的宰制下所遭受的壓迫。兩部作品中不但關注女性在社會上的地位,更重視在不同的社會階級下,女性會因階級上的差異而自我分化。
    第二章在分析《醋湯姆》 中,邊緣弱勢女性在面對父權壓迫時的種種煎熬、憤怒、 與掙扎。《醋湯姆》以十七世紀基督徒獵殺女巫事件為背景,劇中被指控為女巫者,大多為社會邊緣人。其中指控他人為女巫者,竟也不乏女性,他們為了自我的利益和生存,願與父權共謀,欺壓弱勢階級,但自身也受父權機制的壓制。此外,本劇穿插的歌曲將十七世紀迫害女巫的厭女思想連結到二十世紀持續詆毀女性的態度。
    第三章則著重《頂尖女孩》,雖然劇中出現諸位歷史上的成功女性,但至今女性仍
    為了追求成功而缺乏團結甚至放棄母職。1980年代柴契爾主義(Thatcherism)的「成功女性」可以跨越階級的藩籬並獲取職場上的成就。但劇中批評Marlene,這種為了事業成功而放棄家庭的女性,不過是複製了另一種父權思維而已。另外,第三章也探討邱琪兒創新的寫作手法,她認為向父權屈從的女性角色在性別扮演上皆有其目的。女性角色過度強調外在的服裝藉此討好男性支配者,並展現自已的社會地位。例如,Marlene刻意穿著女性服裝遮掩自身,實際上是在遵從父權體制。
    第四章為總結,邱琪兒在兩部劇本中指出部分的女性不願意團結,也拒絕幫助大多數的女性尋求轉變。藉由這兩部作品邱琪兒檢視女性間的階級衝突:女性為了自身利益和成就壓迫其他女性;遭受壓迫的女性因難以離開困境而敵對成功的女性。那些屈服於父權的女性不單強化了父權體制,更對處於不利地位的女性造就更加無望的未來。
    This study of Vinegar Tom and Top Girls demonstrates how Caryl Churchill asserts her socialist feminist concerns of intertwining class and gender issues. Both plays reveal the relationships between economic situation and gender oppression. She makes explicit that the class hierarchy plays a significant role in determining women’s experiences. The power and injustice are practiced by patriarchy and capitalism which uphold the oppression for women. The main concern of both plays is the indictment of the women in powerful class who participate in the patriarchal system.
    In Vinegar Tom, the witch accusations result from the patriarchal and class prejudice against poor and marginalized women. The power and interdependence of patriarchy and capitalism is manifested by some women who are patriarchal agents to victimize the women of lower class. In addition, by using the songs, Churchill presents shocking connection between medieval misogynist attitudes to witches and people’s continuing denigrating attitudes to women in general.
    Top Girls manifests, in spite of the historical women’s success, lack of solidarity and abandonment of motherhood remain unchanged in the present time. Thatcherite politics promoted the image of the high-flying female achiever who was capable of transcending class boundaries and of attaining material success in the work place. However, in this play, the successful woman, Marlene is a believer of patriarchy in disguise of a woman who forsakes her origins and family. In addition, there is a theme of performed gender roles in both plays. The women who collude with patriarchy focus on their dressing to achieve the practical purpose.
    In both plays, Churchill addresses the women who do not build solidarity or foster change for the majority of women. The women of upper class oppress the other women to attain their achievements or pursue their own benefit. The women of lower class cannot escape the plight and they are hostile to those upper class women’s advances. The women’s collusion with patriarchy strengthens the stable of the patriarchal system and causes a bleaker environment for those disadvantaged women.
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    描述: 碩士
    國立政治大學
    英國語文學系
    102551013
    資料來源: http://thesis.lib.nccu.edu.tw/record/#G1025510131
    資料類型: thesis
    顯示於類別:[英國語文學系] 學位論文

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