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    Please use this identifier to cite or link to this item: http://tkuir.lib.tku.edu.tw:8080/dspace/handle/987654321/29960

    Title: The uncanny double in the talented Mr. Ripley and Strangers On a Train
    Other Titles: 《天才雷普利》和《火車怪客》中的詭奇分身
    Authors: 顏慧儀;Yen, Hui-yi
    Contributors: 淡江大學英文學系碩士班
    黃涵榆;Huang, Han-yu
    Keywords: 詭奇;分身;母性超我;幻界;the uncanny;the double;maternal superego;fantasy
    Date: 2009
    Issue Date: 2010-01-10 23:13:51 (UTC+8)
    Abstract: 本論文以精神分析理論探討派翠西亞.海史密斯的著作,《天才雷普利》和《火車怪客》中有關分身與認同的議題,以闡明人類不斷追求相似分身與認同的傾向。第一章將佛洛伊德有關詭奇與分身的闡述應用於海史密斯的小說中。首先說明佛洛伊德對分身與詭奇之間的理論關係,再說明小說中雷普利與狄奇,布魯諾與蓋伊之間分身的關係。第二章探討小說中主要角色的主體構成以及他們與「母性超我」之間的關係。主要角色皆受到紀傑克所言的「母性超我」的影響;「母性超我」即指在主體意識中父親功能失效,而為母親功能所完全統御,導致主體無法與異性建立正常關係。第三章呈現雷普利、布魯諾和蓋伊的「幻界」。「幻界」並不是由主體建構出來,以逃避現實的殘酷;相反地,「幻界」就是現實。雷普利的「幻界」是希望能擁有與狄奇一樣的生活模式、社會地位和財富。布魯諾想要的是與蓋伊一樣的普通中產階級生活:有成功事業,在郊區有棟房子,還有美麗溫馴的妻子。蓋伊的「幻界」是,若能逃離他的前妻,他就能逃離過去的失敗與較低階層的出身背景。分身意指認同,而「母性超我」和「幻界」包含想要回復到過去完整性與追求一個統合世界的慾望。這三者都與想要轉換另一個身份,並在象徵秩序中找尋一個位置有關。我們可以在海史密斯的小說中看到主要角色皆表現出相似傾向。他們渴望找到一個對象去認同;在他們的「幻界」中,若能在象徵秩序中找到一個地位,他們就可以不必再詢問自己關於存在的問題,也可依象徵秩序所賦予他們的身份來統合一個完整個世界。
    The thesis attempts to analyze issues of double and identity in Patricia Highsmith’s novels, The Talented Mr. Ripley and Strangers on a Train, through the psychoanalytic approach, to explore people’s propensity of searching the double and identification repeatedly. Chapter One applies Freud’s theory of uncanniness to Highsmith’s novels. I take Freud’s definition of the double and how its connection with the feeling of uncanniness to explain the doubling connection between Ripley and Dickie, as well as Bruno and Guy. Chapter Two explores the construction of protagonists’ subjectivity and how they are dominated by the “maternal superego.” All three major protagonists are influenced by what Žižek calls the “maternal superego,” which designates the absence of father image and the predominance of mother figure, then resulting in the prohibition of “normal” sexual relation. Chapter Three presents Ripley, Guy and Bruno’s fantasies. Fantasy is not the construction created by the subject into that it escapes for avoiding from the cruelty in the reality; on the contrary, fantasy “is” the reality. Ripley’s fantasy is Dickie’s casual life style, wealth and upper class attitude. In Bruno’s condition, he imagines living as Guy, an ordinary, middle-class man with successful business, a fine suburb house and a beautiful wife. On the other hand, Guy’s fantasy is similar to Bruno’s: getting rid of his vulgar wife means getting rid of his past failure in the small town. The double sometimes designates to identification, and the maternal superego and fantasy contain the desire of regaining wholeness and constituting a coherent world. All three issues pertain to the aspiration of becoming another person and finding a position in the community. In Highsmith’s writings, we can perceive such tendency in characters’ behaviors. They attempt desperately to identify with others; and in their fantasies, if they can occupy a proper position in the symbolic order, their existence of being wouldn’t be in question and also they can organize their world according to that identity given by the symbolic order.
    Appears in Collections:[英文學系暨研究所] 學位論文

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