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    Please use this identifier to cite or link to this item: http://tkuir.lib.tku.edu.tw:8080/dspace/handle/987654321/104843

    Title: 以精神分析論文學電影<<巧克力情人>>中的情愛糾葛
    Other Titles: A psychoanalytical study of the emotional imbroglio in the cinematographic adaptation of Como agua para chocolate
    El estudio psicoanalítico del embrollo emocional en la adaptción cinematográfica de Como agua para chocolate
    Authors: 張薰芃;Chang, Hsun-Peng
    Contributors: 淡江大學西班牙語文學系碩士班
    Keywords: 巧克力情人;文學電影;精神分析;凝視;通姦;瘋狂;Like Water for Chocolate;cinematographic adaptation;psychoanalytical theories;gaze;adultery;madness;Como agua para chocolate;daptacion cinematografica;analisis psicoanalitico;mirada;adulterio;mania
    Date: 2015
    Issue Date: 2016-01-22 14:40:02 (UTC+8)
    Abstract: 墨西哥作家蘿拉.艾斯奇維於一九八九年發表的第一本小說《巧克力情人》,於一九九二年由導演阿爾豐索.亞拉烏翻拍為電影,小說及電影皆獲得廣大迴響。改編電影《巧克力情人》的情節大致上皆忠於原著小說,然而不同媒介的轉換必定存在著差異性,於此,本論文以該部文學電影為主要的文本,分析影像將文字敘述呈現於畫面中的表現,並探討情節的主要議題,分析角色間之情感糾葛。
    Como agua para chocolate (Like Water for Chocolate), the very well–known and the best–selling novel is written by a Mexican writer, Laura Esquivel in 1989. In 1992, Como agua para chocolate had been filmed by the Mexican director, Alfonso Arau, and it became the most successful film of the year. The episodes of this cinematography adaptation is basically remains faithful to the original novel, however, there are quite different from each other. In this thesis, I choose the cinematography adaptation Como agua para chocolate as my research topic. I will analyze the process of adaptation, and explore the main topic of the argument, which is the emotional imbroglio between the characters in Como agua para chocolate.
    There are five chapters in the thesis. The first chapter is the introduction, which contains the motivation and the purpose of the study, the methods, and the literature review. In the second chapter, I will discuss the psychoanalytical theories, which are the mirror stage of Lacan and the theory of personality of Freud. The third chapter emphasizes the introduction of Esquivel’s and Arau’s life and their works, furthermore, putting emphasis on analyzing the film and the novel. In the forth chapter, I will analyze the emotional imbroglio shown in Como agua para chocolate. The last chapter is the conclusion, summarizing the essences of each chapter, and I will conclude the results of this research.
    Appears in Collections:[西班牙語文學系暨研究所] 學位論文

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