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Nationalism and (Homo) Sexuality in Frank McGuinness's Observe the Sons of Ulster Marching Towards the Somme

法蘭克・麥基尼斯《看那些前往索姆河的厄爾斯特子弟兵們》劇中的國家主義與(同性)性慾

摘要


法蘭克・麥基尼斯《看那些前往索姆河的厄爾斯特子弟兵們》劇中場景是個異性戀中心的父權國家主義體制。在這個體制當中,身為現代國家主義眾多派別之一的愛爾蘭新教聯邦主義,控制了劇中性別與性慾的規範,並且藉由歷史、宗教以及家庭部族的力量為男性建構了一個為國捐軀的浪漫形象。男性特質與男子氣概在這個國家的父權體制中受到高度讚揚,但同時男人也被要求付出一些代價,必須為了國家而犧牲生命。當國家主義的浪漫理想幻滅之後,男性士兵轉向同性社群之間的浪漫情感尋求心理上的支柱,使得同性性慾成為國家主義同質論述中的一種另類現象。劇中的同性戀角色拍普,儘管一開始就知道國家主義是建構出來的產物,卻也無法從國家主義無所不在的影響力中逃脫出來。男人注定無法從國家父權體制中脫離,即是本劇所呈現出來的國家主義黑暗面,而國家主義與父權體制的共犯結構,其實也預示了劇中愛爾蘭聯邦主義的缺陷。這種現代的國家主義黑暗面是超越時間的,也不侷限於劇中一九一零年代愛爾蘭新教份子所信仰的聯邦主義。因此,這部戲劇不是一部針對愛爾蘭聯邦主義的批評之作,它檢討的對象其實可以包括所有種類的國家主義,並且讓所有愛爾蘭人能夠開始省思各自的國家意識形態以及一九八零年代所發生的衝突。

並列摘要


Frank McGuinness's Observe the Sons of Ulster Marching Towards the Somme is grounded on a heterosexual and patriarchal nationalism, where Protestant unionism in Ireland, as a kind of modern nationalism, controls gender and sexual norms and constructs for men a romanticized vision of sacrifice through history, religion and tribalism. Masculinity and manliness are highly valued in this national patriarchy system, but at the same time men also have to pay some prices and to make sacrifice. When the soldiers are disillusioned, they turn to homosocial romances for emotional support, and thus homosexuality becomes an alternative in the homogeneous discourse of nationalism. Pyper, the homosexual character who is aware of the fact that modern nationalism is something constructed in the very beginning, still fails to escape from the all-encompassing power of modern nationalism. Men's inability to be free from patriarchal nationalism is the dark side of modern nationalism suggested by this play, and the complicity of nationalism and patriarchy prefigures the defect of Protestant unionism. The dark side of modern nationalism can transcend time and is not confined to the 1910s or Protestant unionism. Not simply an attack on Protestant unionism, this play can also be a reflection of modern nationalism of all kinds and enable the Irish people to rethink their national ideologies and to reflect on the conflicts in the 1980s.

參考文獻


Backus, Margot G.(1999).The Gothic Family Romance: Heterosexuality, Child Sacrifice and the Anglo-Irish Colonial Order.Durham:Duke UP.
Boyce, D. George. (Eds.),Alan O''Day (Eds.)(2001).Defenders of the Union: A Survey of British and Irish Unionism Since 1801.London:Routledge.
Brown, Terence.,Robert Clark (Eds.),Piero Boitani (Eds.)(1993).Who Dares to Speak? Ireland and the Great War.English Studies in Transition: Papers from the ESSE Inaugural Conference.(English Studies in Transition: Papers from the ESSE Inaugural Conference).:
Cregan, David.(2004).Irish Theatrical Celebrity and the Critical Subjugation of Difference in the Work of Frank McGuinness.Modern Drama.47(4),671-685.
Dean, Joan FitzPatrick.,Helen H. Lojek. (Ed.)(2002).The Theatre of Frank McGuinness: Stages of Mutability.Dublin:Carysfort P.

被引用紀錄


Chen, L. Y. (2009). 法蘭克.麥基尼斯劇作中的國家主義與性慾 [master's thesis, National Taiwan Normal University]. Airiti Library. https://www.airitilibrary.com/Article/Detail?DocID=U0021-1610201315152690

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