| Abstract: | 本論文一共分成序言,三個章節和結論, 其內容分別如下。序言中提到書寫此論文的動機和目的。接著簡短的介紹亨利．詹姆斯小說和珍．康萍的電影背景以及他們對性別議題基本的觀念。第一章比較小說中以男性觀點為主體的敍述方式以及電影改為女性的角度來詮釋的不同,並且使用女性主義中埃萊娜．西蘇 “女性書寫”的概念來說明電影中對應的部分。第二章比較小說和電影的主要象徵分別為“圖畫”和 “鏡子”。筆者使用John Berger的理論來說明在歐洲的油畫歷史中,女性和圖畫相似,常被男性視為商品, 並帶出 “男性凝視” 的概念。接著並引用女性電影理論羅拉．莫薇說明電影在傳統上也是以男性為觀看的主體, 她提倡應要以女性為主的 “女性電影”來顛覆傳統電影 。珍‧康萍的電影很符合這個觀念並在電影中把 “男性凝視”轉換為 “女性凝視”。第三章比較女主角在小說中壓抑的情慾和電影中以追求情慾和愛為重要的主題和試圖解放情慾。理論的部分使用了露絲．依麗格瑞的 “自體快感”的觀念,提倡女性應以觸覺反抗男性的視覺觀。結論中討論電影中所透露的女性在困境中可以尋找到的解決之道,在於了解男性所附加在女性的制約, 即是對婚姻和父系制度的認知反省,並且在追求愛情的過程中,不斷的發現,省醒自我,進而尋找自我的定位。
This thesis draws on the theories of Hélène Cixious, Luce Irigaray, and Laura Mulvey to explore the possible application to a reading of Jane Campion’s modern and feminist adaptation of Henry James’s novel The Portrait of a Lady. In this thesis, I hope to explore the dimensions of an encounter between Campion’s movie and feminist theories. Chapter One compares the different narratives of the novel and the film and tries to prove that the movie is akin to Hélène Cixious’s “ feminine writing.” Chapter Two discusses two major symbols- “picture” and “mirror”- that are employed respectively in the novel and the movie. At the same time, John Berger’s theory of “male gaze” and Laura Mulvey’s theory of “counter cinema” are used to interpret the movie to show that the movie reversed the male gaze into female gaze. Chapter Three offers a comparison of the repressed desire of the heroine in the novel and her liberated sexuality in the movie. Luce Irigaray’s theory on sexuality is applied to indicate that this movie is about the quest for love and also a celebration of female sexuality. |
