奧斯卡‧王爾德《莎樂美》中的東方主義

A Study of Orientalism in Oscar Wilde’s Salomé

游佳洵(Yu Jia-Shiun)

指導教授 ： 蘇子中

國立臺灣師範大學/文學院/英語學系/碩士(2020年)

https://doi.org/10.6345/NTNU202001512

摘要

本論文試圖用愛德華‧薩伊德的東方主義觀念分析奧斯卡‧王爾德《莎樂美》中的東方主義色彩與其扮演的角色。王爾德所寫的法文戲劇《莎樂美》由聖經故事改編，多與女性主義、唯美主義或舞蹈研究連結，東方主義色彩雖濃厚，卻極少被當作討論主軸。我嘗試從英文版《莎樂美》中找尋東方主義的蹤跡，並討論分析劇中主角莎樂美所跳「七紗舞」與東方主義之連結，說明王爾德透過《莎樂美》用「王爾德式東方主義｣實現自我，及如何影響後代東方主義展演。
第一章為導論，我淺介奧斯卡‧王爾德的法文戲劇《莎樂美》劇本內容、創作背景以及王爾德對於東方的認識與印象。接著導出愛德華‧薩伊德所著之《東方主義》，主要聚焦在薩伊德對於「潛隱東方主義」與「明顯東方主義」的闡述及討論上，解讀《莎樂美》中所充滿的東方元素。第二章我以薩伊德所提之「潛隱東方主義」與「明顯東方主義」概念，深入解讀《莎樂美》英文文本，並詳細說明劇中所出現之重要東方元素:顏色、舞蹈、感知、慾望與邪惡。第三章主要討論劇中主要角色莎樂美所跳之舞蹈「七紗舞」。我將介紹從《莎樂美》於舞台上的演出歷史，及四個較有特色的版本加以討論: 穆德‧艾倫 (1892)、莎拉·伯恩哈特 (1906)、瑪莉亞‧愛溫(2009)與碧雅媞‧弗雷克(2016) 所演出之不同版本的「七紗舞」分析，說明西方演員展演東方角色時的距離感與矛盾感，展現不同時代下產出之《莎樂美》版本，有著各自表現東方主義的方式。

關鍵字

東方主義 ； 潛隱東方主義 ； 明顯東方主義 ； 莎樂美 ； 王爾德 ； 薩伊德 ； 七紗舞

並列摘要

This thesis aims to analyze and explore the role Orientalism plays in Oscar Wilde’s Salomé. I argue that Salomé, instead of a play full of Orient resources, is a play that features Orientalism, more precisely, Wildean Orientalism, and Wilde, due to his identity as an Irishman and homosexual, redefines Orientalism through Salomé.
This thesis consists of three parts. In Chapter One, I will briefly introduce Oscar Wilde’s Salomé whilst commenting on previous critical studies of Salomé. Also, I introduce Edward Said’s definition of Orientalism, using his book Orientalism as a direct resource, I will mostly focus on Said’s explanations of “latent Orientalism” and “manifest Orientalism,” and how these two concepts work in Wilde’s Salome to make it seen as an Oriental play. In Chapters Two, I will dig into the issue of “latent Orientalism” and “manifest Orientalism.” I will discuss significant themes interweaving the whole play: sense, color, desire, and evilness. The discussion will be based on the context of the original play (English version). In Chapter Three, I will analyze the dance of the seven veils. I will introduce the production history of Salomé’s stage performances. I choose four of them to discuss, which are: Sarah Bernhardt’s version (1892), Maud Allan’s “The Vision of Salomé” (1906), Maria Ewing’s (2009), and Beate Vollack’s performance (2016) to discuss. I want to compare and contrast the different styles of the same dance and try to find how Orientalism is presented differently and how different people elaborate on Salomé and the dance of the seven veils.

並列關鍵字

Orientalism ； latent Orientalism ； manifest Orientalism ； Salomé ； Oscar Wilde ； Said ； dance of the seven veils

參考文獻

Burney, Shehla. “CHAPTER ONE: Orientalism: The Making of the Other.” Counterpoints 417: (2012): 23-39. JSTOR. Web 24 June 2020.

Caddy, Davinia. “Variations on the Dance of the Seven Veils.” Cambridge Opera Journal 17.1 (2005): 37–58. JSTOR. Web. 10 Oct. 2019.

Cavendish-Jones, Colin. “Define the term ‘Orientalism’ as coined by Edward Said.” eNotes Editorial 10 Apr. 2013. Web. Accessed 18 Mar 2020.

---. “Oscar Wilde’s Radically Revised View of China.” Studies in English Literature 1500-1900 54.4 (2014): 923–941. JSTOR. Web. 30 May 2020.

Callow, Simon. and National Portrait Gallery. Oscar Wilde and His Circle. National Portrait Gallery, 2000. Print.