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題名 | Specters, Memory and the Politics of Culture: Encountering Ghosts in William Shakespeare's Hamlet and Pedro Almodóvar's Volver=鬼魂、記憶和文化政治:在莎劇《哈姆雷》和阿莫多瓦《玩美女人》中遇見鬼 |
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作者 | 裴卓仕; | 書刊名 | NTU Studies in Language and Literature |
卷期 | 24 2010.12[民99.12] |
頁次 | 頁25-47 |
分類號 | 841.83357 |
關鍵詞 | 莎士比亞; 哈姆雷; 阿莫多瓦; 玩美女人; 鬼; 記憶; 文化政治; 父權; William Shakespeare; Hamlet; Pedro Almodóvar; Volver; Ghosts; Memory; Cultural politics; Patriarchy; |
語文 | 英文(English) |
中文摘要 | 本文旨在分析英國文藝復興時期莎士比亞和當代西班牙電影導演阿莫多瓦作品中的鬼魅主題。我嘗試分別探討《哈姆雷》和《玩美女人》中魂魄歸來的意識型態功用。莎士比亞和阿莫多瓦同樣利用鬼魅的方式探索籠罩在愧疚、憤怒、背叛和可能亂倫的親子關係。哈姆雷父親現身,強加一連串父權的要求於世人身上,導致毀滅和瓦解;而阿莫多瓦的劇本與電影卻呈現愛琳這個母親的鬼,她最終的目的是交涉、重整、保持及捍衛她身邊的人的情緒穩定。雖然我討論的是莎士比亞和阿莫多瓦對鬼魅的處理手法,我的目的並非比較分析這兩個文本,而是重新思考哈姆雷在當代文化中的地位。更準確的說,第一是要解釋長久以來對莎劇保守的解讀:將焦點放在哈姆雷身上,且因其經典地位便忽視莎士比亞對父權的執著;第二則是要挑戰這樣的觀念。過於沉迷於哈姆雷這個角色乃出自意識型態錯誤的詮釋,我因此專注在鬼的角色,視鬼爲成就形式和意識型態和諧的重要元素。老哈姆雷鬼魂的現身其實是轉變他兒子記憶成爲父權自我投射的計畫的第一步。在指出莎士比亞的後設評論允許對另類記憶範例的追求後,本文的討論便轉向《玩美女人》。本片呈現一個反莎士比亞的世界,以記憶來抵抗《哈姆雷》劇中刻劃的父權。愛琳的角色是哈姆雷鬼魂的反面,凸顯了以哈姆雷父親爲全劇中心的讀法,藉此顯示哈姆雷希望被記憶的形象:主控的、男性中心的、無情的、自我中心的。 |
英文摘要 | This paper seeks to analyze the theme of the ghostly in the work of English Renaissance dramatist William Shakespeare and contemporary Spanish film director Pedro Almodóvar. My intention is to discuss the ideological function of the spectral return in Hamlet and Volver (2006), respectively. Shakespeare and Almodóvar alike, use ghosts as a means of exploring parent/child relationships that are haunted by guilt, anger, betrayal, and the possibility of incest. However, whereas the appearance of Hamlet's father imposes upon the living a range of patriarchal demands, triggering a tale of widespread destruction and disintegration, Almodóvar script/film features a motherly ghost, Irene, whose ultimate purpose is to negotiate, restore, preserve and safeguard the emotional stability of those around her. Even though I discuss the differences between Shakespeare's and Almodóvar's deployment of the ghostly, my purpose is not to perform a comparative analysis of the two texts. My ultimate goal is to rethink the place that Hamlet has in contemporary culture. More specifically, my intention is first to account for, and second to undermine, the resilience of a conservative reception of the play that focuses on Hamlet and employs the category of the "canonical sublime" in order to look past Shakespeare's sustained concern with patriarchy. Suggesting that the tendency to be captivated by the character of Hamlet is part and parcel of an ideologically misguided reading, I focus on the figure of the Ghost as a central element of formal and ideological coherence. My reading reveals how Old Hamlet's ghostly apparition is the first stage in a wider strategy which transforms his son's memory into a site of patriarchal self-projection. Pointing out that Shakespeare's meta-fictional commentary licences a search for alternative paradigms of recollection, discussion turns to Volver. I credit the film with the ability to represent a counter-Shakespearean universe where memory can resist the patriarchal urgencies that characterize Hamlet. Seen as an inversion of the Hamletian ghost, the character of Irene reinforces a reading which places Hamlet-the-father at the centre of the Shakespearean play and by doing so reveals the controlling, male-centred, unforgiving and egocentric terms in which he wants to be remembered. |
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