查詢結果分析
來源資料
頁籤選單縮合
題名 | May Well and's Faciality in Edith Wharton's The Age of Innocence=「純真年代」中眉.威蘭德之面目性 |
---|---|
作者 | 姚秀瑜; Yao, Shirley; |
期刊 | 東海大學文學院學報 |
出版日期 | 20010700 |
卷期 | 42 2001.07[民90.07] |
頁次 | 頁265-286 |
分類號 | 874.57 |
語文 | eng |
關鍵詞 | 面目性; 抽象機器; 理性的秩序; 雙重連結; 反隸屬化; 再隸屬化; 噤聲; 監督; 逃逸的線; 家庭寵物; 國家動物; 變形動物; Faciality; Abstract machines; Order of reasons; Double articulations; De territorialization; Re territorialization; Silence; Surveillance; Lines of flight; Family pets; State animals; Animals with becomings; |
中文摘要 | Living in the old New York society in the early eighteen-seventies, May Welland is dominated by “the abstract machine of faciality, “to use Gilles Deleuze’s term. Misreads as purely innocent by her husband, May is both a victim and an administrator of the power operation within that society. She submits to the social system that deprives women of independent thinking and behavior. May then wears a lily-like face: domestic, obedient, and innocent. However, the patriarchal hegemony ask a wife to be attractive but playfully to discourage masculine homage, to have a blank past yet to be indifferent to her husband’s past, to ignore her husband’s love affair yet to be called a “simpleton” in behaving this. May also undergoes this kind of “double articulations.”” Deleuze divides people into three categories of animals, owing to different “territorializations” in motion. Always in Archer’s possessorship and ready enlightenment, and obedient to the maternal instruction for an ideal wife, May belongs to the first group of Deleuze’s animals: a family pet. Fully aware of women’s difficulties in social situation and finance if getting a divorce, May pretends to be ignorant of her husband’s love affair. Submitting to the social and cultural confinement, she then fits in the second group: a state animal.however, under the protection of an innocent expression, May finds “a line of flight” to save her marriage. She becomes the third group: an animal with becomings. The faciality is witnessed through these three transformations. |
英文摘要 | 眉.威德處於十九世紀末的舊紐約社會,被德勒茲所的「面目性機器」所制約。純真的面貌使她成為權力運作的受害者及執行者,無法獨立思考與行動,而被戴上女性刻板形象中百合花的面目。眉被視為丈夫的財產,並謹守母系教誨,乃成為「家庭寵物」。有鑒於離婚女性社會地位及經濟的困難,她假裝不知道丈夫出軌。如此聽任社會和文化的箝制,眉便屬於「國家動物」。然在純真面貌背後,她內化了監督與噤聲的策略,為婚姻困境覓得一條「逃逸的線」:她化身為「變形動物」。經由以上三種動物轉變的論述,可窺知其面目性的運作。 |
本系統之摘要資訊系依該期刊論文摘要之資訊為主。