※ [本文轉錄自 NTU07DFLL 看板]
作者: titdnic (傑克維) 看板: NTU07DFLL
標題: [公告] 國立台灣大學外國語文學系學術演講
時間: Fri Apr 24 13:40:07 2009
國立臺灣大學外國語文學系學術演講
DFLL Faculty Colloquium
（若需公務人員終身學習時數認證者，研習後可登錄時數2小時）
Protestant Women, Memories, and the Black in Christina Reid's Three War Dramas
Speaker: Dr. Wei H. Kao (Assistant Professor, DFLL, NTU)
演講人：高維泓助理教授（臺大外文系助理教授）
Moderator: Dr. Hsin-ying Li (Associate Professor, DFLL, NTU )
主持人：李欣穎副教授（臺大外文系副教授）
Time: 3:30 ~ 5:00 pm, Wednesday, May 6, 2009
時間：2009年5月6日（週三）下午3:30-5:00
Venue: DFLL New Conference Room, Gallery of NTU History (Old Main Library)
地點：臺大校史館（舊總圖）一樓外文系新會議室
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Abstract:
The representation of Northern Irishwomen who are neither Catholics nor
nationalists remains void, or they are often stereotyped as homogeneous
unionists. Christina Reid, Belfast-born and from a working-class Protestant
family, is one of several playwrights who often dramatise—in a journalistic
style—the assorted experiences of women who may not sympathize with the
unionist agenda but are forced to choose between being either betrayers of
the nation or silent supporters of their husbands and male family members.
Her plays—which often delineate women's predicaments when husbands and
brothers are absent fighting wars on the European mainland or intensely
involved in anti-IRA paramilitary forces—can thus be seen as not only the
historiography of Protestant northern Irishwomen and their awakening, but
also critiques of the unionist ideology and its violence. In particular, this
female-centered historiography through drama, not necessarily with political
leaning towards any specific party, is complicated with issues of the
coloured minorities whose presence in Ireland, or involvement with Irishwomen
in Britain, initiates female liberation. The playwright, by touching upon the
racial issues, also renders the ethnic and denominational conflicts in a
significant global perspective, suggesting how Ireland's peace is not likely
to be made by means of insular politics but through the growing contribution
of immigrants and inter-racial marriages. Her plays, presumably, break fresh
ground for the Irish theatre which is now striding out of the shadow of
anti-colonial sentiments by exhibiting the true but not always appealing
faces of this split nation. Reid's war dramas, to be discussed in relation to
Protestant Northern Irishwomen's experiences, include Tea in a China Cup
(1983), The Belle of the Belfast City (1989), and My Name, Shall I Tell You
My Name? (1989).
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