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  • About
  • The Global ETD Search service is a free service for researchers to find electronic theses and dissertations. This service is provided by the Networked Digital Library of Theses and Dissertations.
    Our metadata is collected from universities around the world. If you manage a university/consortium/country archive and want to be added, details can be found on the NDLTD website.
1

金馬獎的再現分析(1962-2000)

林惠君 Unknown Date (has links)
金馬獎是台灣歷時最久,也是最為國內電影界人士所關心的電影獎。而金馬獎從一九六二年開始舉辦,迄二000年以來,將近有四十年之久。本文藉著《聯合報》對金馬獎(1962-2000)的再現分析,以政治經濟學的角度探討此一電影獎制度背後的成因,並勾勒出金馬獎在台灣電影經過數十年的變遷,其扮演的角色為何。 研究發現:金馬獎早期舉辦的目的,名義上為「獎勵優良國片」,實質則為鼓勵具有宣揚「國家意識型態」的影片。換言之,不論在頒獎典禮的日期、主持人及頒獎人在頒獎典禮上的致詞,呈現濃厚的政治意味。因此,金馬獎充滿官式化的色彩,報紙的再現也充分地反映出此一情況。然而,自七0年代末期,在當時新聞局長宋楚瑜的主導之下,在八0年代,金馬獎官式化的色彩漸褪,金馬獎的主辦也漸漸地移轉至民間,金馬獎自此受到媒體與電影界人士的重視。報紙再現的部分也反映出此時台灣電影文化界的蓬勃,不遇也由於金馬獎回歸到獎勵技術優良的電影獎性質,也產生了台港影片相互較勁的情況。 到了九0年代,台灣電影產量由於種種因素而驟減,但是大眾娛樂文化已然在台灣成形。另一方面,雖然台灣電影產量並未能支撐起一個電影獎的角逐,但隨著華語電影的潮流之下,在九0年代晚期廣納大陸月的競賽,金馬獎轉型為「華語電影獎」,而金馬獎頒獎典禮新聞隨著影劇新聞逐漸受到重視,在報導量及版面(次)的分配上都擴張許多,但是卻流於重視金馬獎頒獎典禮中藝人的服飾花絮報導,對於台灣電影在金馬獎上的邊緣化之議題卻鮮少報導。
2

閾限空間:薩爾曼•魯希迪《摩爾人的最後嘆息》之後殖民閱讀 / Liminal Space: A Post-Colonial Reading of Salman Rushdie's The Moor's Last Sigh

黃信凱, Huang, Paul Hsinkai Unknown Date (has links)
薩爾曼•魯希迪的《摩爾人的最後嘆息》運用想像與史實描繪出一個印度家族的故事。這個四代家族所經歷的時間橫跨整個二十世紀,一般說來在這個世紀前半部分大多數國家經歷了殖民統治與帝國主義,而在後半部分則面臨去殖民與國家主義的風潮。因此,書中論及的這些殖民與後殖民的經驗也引發了一些重要的議題,像是混雜、多元文化,和國家主義。霍米•巴巴提出‘閾限空間’這個概念有助於對這本小說做深入的評價與賞析,特別是能促進對以上三個議題更深入而具體的認知。霍米•巴巴將許多概念納入‘閾限空間’這個總括性術語的討論範圍,因此本論文將從中擷取三個概念來論述這本小說,分別是混雜、文化差異、及國家意識。 本論文的導論先闡釋霍米•巴巴‘閾限空間’這個概念並且發掘魯希迪這本小說中許多重要的後殖民議題。這些議題與‘閾限空間’ 這個概念的關係密不可分,因此這個概念所延伸論及的理論便可用於理解並賞析這本小說。接下來的三章將分別以混雜、文化差異、及國家意識來發掘並建立《摩爾人的最後嘆息》與‘閾限空間’這概念之間的關係。第二章將藉由霍米•巴巴對殖民者與被殖民者之間的矛盾關係的論述進而深入理解小說中意欲呈現的殖民混雜與後殖民混雜。這種矛盾的關係理論上與他者化的過程有關聯,在這過程中身分認同與主體化不論是在後殖民理論還是此本小說中都是值得商榷的議題。第三章利用霍米•巴巴的‘文化差異’來重新檢視並且重新定義所謂的多元文化。魯希迪在小說中巧妙地將現在的印度重疊在過去由摩爾人統治的西班牙之上,這種後殖民的羊皮紙影像便可藉由文化差異與多元文化的概念得到更具體的意義。此外,閾限空間也是一種不同文化的接觸地帶,這樣的中介地域也有助於理解魯希迪在流行文化與高等文化間所採的折衷主義。第四章則著重於探討霍米•巴巴如何發展閾限空間與國家意識的理論關係,還有國家與敘事之間的關係。此章也將利用國家與敘事的關係來理解魯希迪是如何在這本小說中運用許多文學技巧在小說世界中重構國家形象,尤其是文本互涉的材料與歷史的指涉這樣的技巧。 最後的總論將重申在本論文中提及的一些重要的論點,藉由重申這些論點來總結論文提及的一些重要概念的大意,並且讓魯希迪的《摩爾人的最後嘆息》與巴巴的‘閾限空間’這個文本與理論相互闡釋並佐證的關係更為清楚。 / Salman Rushdie’s The Moor’s Last Sigh delineates, fictively and historically, a family saga in India. The four-generation family approximately spans the twentieth century that, generally speaking, has gone through colonization and imperialism in the first half as well as de-colonization and nationalism in the second half. Accordingly, they bring forth a few significant issues, such as hybridity, multiculturalism, and nationalism. Homi Bhabha’s idea of ‘liminal space’ is conducive to the evaluation of the novel, and expressly to the discussion of the above three concepts in a more specific way. He subsumes a lot of ideas under the umbrella term ‘liminal space’, so this thesis is to extract three ideas—hybridity, cultural difference, and nationness—to elaborate on the novel. The introductory chapter expounds Bhabha’s idea of ‘liminal space’ and also explores a few post-colonial issues in the novel. The issues in question are related to Bhabha’s idea of ‘liminal space’, from which some key ideas are derived so as to appreciate the fictional world Rushdie constructs in the novel. The following three chapters are respectively based on the three liminality-related ideas, whereby to find the relation of the novel with Bhabha’s ‘liminal space’. The second chapter is to obtain a deeper apprehension of colonial and post-colonial hybridity through Bhabha’s argumentation concerning the ambivalent relationship between colonizer and colonized. The ambivalent relationship is theoretically associated with the othering process. In the process, identification and subjectification are moot questions not only in post-colonial theory but in the novel as well. The third chapter is intended to make use of Bhabha’s idea of ‘cultural difference’ to review and redefine what the word ‘multiculturalism’ is like. In turn, it helps to shed much more light upon Rushdie’s palimpsesting modern India over Moorish Spain. In addition, liminal space refers to a contact zone of cultural difference that elucidates Rushdie’s eclecticism between popular culture and high culture in the novel. The fourth chapter is to discuss the way Bhabha colligates liminal space and the idiolect ‘nationness’ and the way he relates the idea of nation to narration. The relationship between nation and narration is applied to the understanding of how Rushdie utilizes literary techniques, especially intertextual materials and historical allusions, for a re-construction of a nation in a fictional world. The conclusive chapter is to reiterate some important arguments that are germane to the above key concepts and to the reciprocal clarification between Bhabha’s ‘liminal space’ and Rushdie’s The Moor’s Last Sigh.

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