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    題名: The Gaze of the Other in Ang Lee's Crouching Tiger, Hidden Dragon and Hitchcock's The Birds
    作者: 蔡振興;Tsai, Chen-hsing
    貢獻者: 淡江大學英文學系
    關鍵詞: Self;other;intersubjectivity;gaze;inversion;hiddenness;face;trace;cultural identity;politics of (mis)recognition;Ang Lee;Alfred Hitchcock;Emmanuel Levinas
    日期: 2002-01
    上傳時間: 2010-01-07 09:48:19 (UTC+8)
    出版者: 台灣師範大學英語學系
    摘要: Here I first briefly review the Western metaphysical conceptualization of ”self”/”other,” based on the logic of identity-and-difference, and the post-Hegelian, post-structuralist move away from this logic toward a notion of ”difference” or ”otherness” that cannot be contained within the hegemony of a (Eurocentric) rational ”self” (mind, consciousness) - particularly as we get this move in Lacan and Levinas. Then I look at Hitchcock's The Birds and (more substantially) Ang Lee's ”Crouching Tiger, Hidden Dragon” in (the Lacanian and Levinasian) terms of intersubjectivity, the inverted ”gaze,” the self-negating (or abnegating) move toward/into the ”other.” If the birds attacking from the sky are (as on Zizek's reading) an other which can ”negatively” signify and thus absorb or replace the social conflicts among the characters - nature ”above” becomes the inverted gaze of culture ”below” - then in ”Crouching Tiger, Hidden Dragon” we are dealing with a more purely horizontal (socio-cultural) matrix of relationships in which the inverted gazes of/within the ”pairs” (of warriors, friends or lovers) signify or signal inversions/reversals of identities or roles, including gender roles.
    關聯: Concentric: Studies in English Literature and Linguistics 28(1), pp.181-202
    顯示於類別:[英文學系暨研究所] 期刊論文

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