※ [本文转录自 NTU07DFLL 看板] 作者: titdnic (杰克维) 看板: NTU07DFLL 标题: [公告] 国立台湾大学外国语文学系学术演讲 时间: Fri Apr 24 13:40:07 2009 国立台湾大学外国语文学系学术演讲 DFLL Faculty Colloquium （若需公务人员终身学习时数认证者，研习後可登录时数2小时） Protestant Women, Memories, and the Black in Christina Reid's Three War Dramas Speaker: Dr. Wei H. Kao (Assistant Professor, DFLL, NTU) 演讲人：高维泓助理教授（台大外文系助理教授） Moderator: Dr. Hsin-ying Li (Associate Professor, DFLL, NTU ) 主持人：李欣颖副教授（台大外文系副教授） Time: 3:30 ~ 5:00 pm, Wednesday, May 6, 2009 时间：2009年5月6日（周三）下午3:30-5:00 Venue: DFLL New Conference Room, Gallery of NTU History (Old Main Library) 地点：台大校史馆（旧总图）一楼外文系新会议室 ----------------------------------------------------------------------------- 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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