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    Please use this identifier to cite or link to this item: http://tkuir.lib.tku.edu.tw:8080/dspace/handle/987654321/29952

    Title: Euripides' songs of nether darkness : "truth," disunion, and madness in Medea and Hippolytus
    Other Titles: 尤里庇狄思劇本中的陰騭悲歌 : 《米蒂亞》與《希帕里特斯》的「真相」、分裂架構與瘋癲
    Authors: 吳瑜雲;Wu, Yu-yun
    Contributors: 淡江大學英文學系博士班
    黃逸民;Huang, I-min
    Keywords: 尤里庇狄思;米蒂亞;希帕里特斯;悲劇;分裂架構;瘋癲;黑格爾;傅柯;Euripides;Medea;Hippolytus;tragedy;parrhesia;disunion;madness;Hegel;Foucault
    Date: 2007
    Issue Date: 2010-01-10 23:13:27 (UTC+8)
    Abstract: 本論文嘗試探討古希臘劇作家尤里庇狄思所呈現的真相與虛假之模稜性、本體分裂架構及瘋癲主旨。討論中指出《米蒂亞》與《希帕里特斯》巧妙的融合古希臘說真話的實踐,衝突的分裂架構,和男權社會中女性的的反抗與瘋癲,在在充斥於情節,主題,與角色描寫中。
    This dissertation attempts to assert that Euripides poses as a poet to represent the topics of uncertainty, conflict, and madness. Here my study is to illustrate that Euripidean Medea and Hippolytus underscore a mostly intricate rendezvous of the Greek practice of parrhesia, the disturbing disunion on various potential possibilities, and the abiding occurrence of the female resistance and madness in a pallogocentric community as demonstrated in the plot development, central themes, and character portrayal.
    Foucault manifests parrhesia as the verbal activity of truth-speaking with the five major qualities of frankness, truth, criticism, obligation, and risk-taking. By discussing the concept and practice of the Greek notion of parrhesia, political or personal, I intend to investigate the word’s use in Hippolytus and Medea to shed new light on revealing the ambivalence of truth-telling and truth-hiding as well as the ambiguity of truth and falsehood in these two plays.
    In addition, by applying Hegelian concept of tragedy and the predominantly Greek gender protocols, I would demonstrate that Euripidean tragedy establishes the structure’s penchant: the tragic characters cling to the dominion of their fixed “pathos” (“the feeling soul”) from the outset in the confrontation of the painful Others, and entertain no absolute accommodation between the protagonist and the antagonist. Clearly, the obsessive natures of Medea and Jason or Phaedra and Hippolytus are formulated in irreconcilable opposition and hostile conforntations.
    Besides, by virtue of the Hegelian theory of madness, I would declare that the tragic heroine in madness is trapped between two centers of reality (the discord between the inner and outer worlds), and that the mad self disrupts herself to experience a double personality. Thus, we’ll see “a double doubleness”: a divided personality that compliments a divided world. Furthermore, in light of the polarized ideology of gender (the system of dualism), I argue that female public invisibility, negativity, suffering, and the Gestalt of despair in a definitively male-oriented world precipitate Medea’s and Phaedra’s desperate resistance against the cultural norms and their exerting the stratagem of passionate madness; it is a gesture of both protest and a healing recovery from the wounds and agonies of the spirit to articulate their demands for esteem and self-identity.
    The concluding part of this study suggests that Euripides has been both remote and contemporary. His eternal songs splendidly explore the radical disunion and darkening madness of female existence, which are elaborated with a timeless relevance of glorious struggle for survival and triumph.
    Appears in Collections:[英文學系暨研究所] 學位論文

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