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| 研究生： |
陳奎含 Chen, Kuei-Han |
|---|---|
| 論文名稱： |
「庸才的守護神！」：彼得·謝弗《阿瑪迪斯》中 薩里耶里的自我認識 “Patron Saint of Mediocrities!”：Reading Salieri’s Self-Recognition in Peter Shaffer’s Amadeus |
| 指導教授： |
姜翠芬
Jiang, Tsui-Fen |
| 口試委員: |
陳音頤
Chen, Yin-I 施懿芹 Shih, Yi-Chin |
| 學位類別： |
碩士
Master |
| 系所名稱： |
外國語文學院 - 英國語文學系 Department of English |
| 論文出版年： | 2021 |
| 畢業學年度： | 109 |
| 語文別： | 英文 |
| 論文頁數： | 48 |
| 中文關鍵詞： | 《阿瑪迪斯》 、心理分析 、自我認同 、自我欺騙式的認同 、自我接受 |
| 外文關鍵詞： | Amadeus, psychoanalysis, self-identification, self-deceptive identification, self-recognition |
| DOI URL： | http://doi.org/10.6814/NCCU202100090 |
| 相關次數： | 點閱：102 下載：7 |
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於西元一九七九年，彼得·謝弗出版其劇作《阿瑪迪斯》。本劇是由一則關於音樂家沃夫岡·阿瑪迪斯·莫札特與同為音樂家的安東尼奧·薩里耶里流傳的故事改編而成。本劇描述薩里耶里以向上帝宣戰為由持續地暗中迫害莫札特。對莫札特的愛與恨促使薩里耶里的自我認同受到龐大的改變。本論文以心理分析之角度檢視薩里耶里的自我認同與其變化。經歷了鏡像階段、無大他者的階段、莫札特（大他者之提示）的出現、莫札特之死、至最後的自我起名為「庸才的守護神」，薩里耶里的自我認同由父母的投射轉換成成自我欺騙式的認同，最後結束於無奈的自我接受。
Written in 1979, Peter Shaffer’s Amadeus reintroduces the old tale of the two musicians — Wolfgang Amadeus Mozart and Antonio Salieri. This play depicts the battles Salieri has with God by destroying Mozart. Being the only person who can recognize Mozart’s celestial music and being threatened by Mozart, Salieri faces the tremendous transformations of his self-identification; eventually, he addresses himself as “Patron Saint of Mediocrities.”
This thesis, treating Amadeus from the Lacanian lens, points out that Salieri’s self-identification has gone through certain times of transformations. Having his first self-identification in the Mirror Stage, experiencing the Other-less period of time, having Mozart (the reminder of his Other) appear in his life, losing Mozart, and finally recognizing himself as a mediocre, Salieri re-identifies himself throughout his lifetime. I argue that Salieri’s self-identification has changed from the reflection of his parents to self-deceptive identification, and finally, to a helpless self-recognition of his mediocrity.
Chinese Abstract vii
English Abstract ix
Chapter One: Introduction 1
1 Introduction 1
2 Literature Review 2
3 Contribution 6
4 Argument 8
5 Theoretical Framework 8
6 Chapter Layout 12
Chapter Two: The Mirror Stage, Childhood, Court Composer 15
1 The Mirror Stage: The First Identification 16
2 Childhood: The First Self-Identification 16
2.1 The Importance 17
2.1.1 Father: Merchant 18
2.1.2 Locations: Lombardy and Legnago 19
2.1.3 Mediocrity 20
3 Court Composer 21
3.1 The-Other-less 22
3.1.1 Power 22
3.2 A Good Man, the Chosen One 24
3.3 The Unconscious Self-Deceptive Identification 25
Chapter Three: The Other, Living Mozart, Departing/Departed Mozart 27
1 The Other 28
1.1 Language 28
1.1.1 Music 29
1.2 Mozart: The Reminder of Salieri’s Other 31
2 Living Mozart: The Shaken Identification 32
2.1 The Shaken Self-Identification and the Other 32
2.2 Apollonian and Dionysian Contradiction 33
2.3 The Conscious Self-Deceptive Identification 35
3 Departing/Departed Mozart: The Final Self-Identification 36
3.1 Departing Mozart: The End of Self-Deceptive Identification 36
3.1.1 A Confession to the Audience 37
3.1.2 A Confession to Mozart 38
3.2 Departed Mozart: Self-Recognition 38
Chapter Four: Conclusion 41
Works Cited 45
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