論布萊恩‧傅萊爾在《翻譯》與《盧納沙之舞》中游移的身份認同

在愛爾蘭，文化認同一直是個備受關注的議題。由於愛爾蘭過去長期處於英國的統治之下，儘管現今殖民統治已結束，英國的殖民文化依舊對愛爾蘭的本土文化產生巨大的影響，因此，也影響了愛爾蘭人的身份認同。愛爾蘭傑出的劇作家之一，布萊恩‧傅萊爾在其作品中表達了對愛爾蘭殖民議題的憂心。傅萊爾在其兩部重要著作《翻譯》及《盧納沙之舞》中闡釋了愛爾蘭人的文化認同困境。在《翻譯》及《盧納沙之舞》兩劇中，傅萊爾分別藉由歐文在語言層面上及傑克在宗教層面上來探討兩人游移的文化認同。本論文主張，歐文與傑克身分認同的轉變皆來自於他們自身的自我意識覺醒，儘管最後歐文瞭解如何以其語言專長抵抗英國文化，而傑克神父卻迷失在宗教裡。藉由歐文在語言層面的兩難，與傑克在宗教面的掙扎，不論結果為何，傅萊爾皆重新檢視了愛爾蘭在語言與宗教上的文化認同困境。全文共分為兩章：第一章將探討在《翻譯》一劇中，歐文在語言層面上游移的身份認同。透過翻譯，歐文將徹底瞭解文化認同是如何被語言所操縱，最後更下定決心去尋找其自身的身份認同。第二章則揭露在《盧納沙之舞》一劇中，傑克神父在宗教層面上游移的身份認同。傑克神父雖然試圖藉由找出非洲異教信仰與愛爾蘭異教信仰的共通性，並抹除其曾身為天主教教徒的痕跡，但最後他仍一直徬徨在其中，無法確認其自身的身份認同。而本論文最後結論為，語言與宗教對歐文與傑克兩人的身份認同影響甚鉅。

關鍵字

《盧納沙之舞》；《翻譯》；布萊恩‧傅萊爾；身份認同

並列摘要

Cultural identity is still a major issue under discussion in Ireland. Ireland had been colonized by the British Empire for a long time. And nowadays, though colonization ends, English culture of the colonizers still has a major influence on the local Irish culture. Therefore, for the Irish, cultural identity is a complicated issue. Brian Friel, regarded as a prominent Irish playwright, shows his worries about the recurrent colonial problems in Ireland in his plays. Through his two significant plays, Translations and Dancing at Lughnasa, Friel tries to illuminate the difficulties of cultural identity of Irish people, including Owen’s dilemma in language and Father Jack’s struggles in religion. Therefore, in this thesis, I will discuss that both Owen’s and Jack’s transformation of their own identification come from their self-awareness, although Owen understands how to resist the English culture by his professional specialty in language, and Father Jack is lost in religion in the end. Through Owen’s dilemma in language and Father Jack’s struggles in religion, whatever consequences they take, Friel reexamines two different predicaments of identification in Ireland. In Chapter One, I would like to probe into Owen’s wandering identity from the aspect of language in Translations. I consider that, through translation, Owen is aware of how one’s cultural identity can be manipulated by language and thus determines to find his own in the end of this play. In Chapter Two, I would like to explore Father Jack’s wandering identity in religion in Dancing at Lughnasa. I will argue that, through religion, although he would like to search for the similarity between the African and Irish paganism and erase the traces as a Catholic, Jack’s identity keeps wandering between African paganism, Irish paganism, and Christianity. The thesis concludes that Owen’s and Jack’s identification are influenced by language and religion respectively.

並列關鍵字

Dancing at Lughnasa ； Translations ； Brian Friel ； cultural identity

參考文獻

Anderson, Benedict. Imagined Communities: Reflections on the Origin and Spread of Nationalism. Rev. ed. London: Verso, 2006. Print.

Ashcroft, Bill, et al. Key Concepts in Post-Colonial Studies. NY: Routledge, 1998. Print.

Bowie, Fiona. The Anthropology of Religion: An Introduction. Malden: Blackwell, 2006. Print.

Carroll, Michael P. Irish Pilgrimage: Holy Wells and Popular Catholic Devotion. Baltimore: Johns Hopkins UP, 1999. Print.

Connolly, S. J., ed. The Oxford Companion to Irish History. 2nd ed. Oxford: Oxford UP, 2007. Print.

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論布萊恩‧傅萊爾在《翻譯》與《盧納沙之舞》中游移的身份認同

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