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希臘舊喜劇之嘉年華理論並試論亞裏士多芬尼斯之《雅典女人在婦女節》(Thesmophoriazusae)

摘要


本文係探討對希臘舊喜劇(Old Comedy)之嘉年華(carnivalesque)理論的可能性,以及此理論對我們詮釋舊喜劇已俱有之可能意涵,做番探討。嘉年華的模式是一取自俄國思想家M. Bakhtin的人類學理論,這是在他做有關F. Rabelais著作Gargantua(約1534)研究時所提出的。這種模式非常強調在嘉年華場合之中所具有的烏托邦願景,並定位在此地以及現在(here and now),將現成既存之秩序做一全面性之反轉顛覆,徹底將個人從由外面加諸的限制充分解放出來,並且狂歡慶祝食物、肉體以及排泄物,換言之,一種“生活哲學” (Lebensphilosophie)完全針對古典美學強調形式及自製來反動、來運作。類似之狀況亦可以在亞裏士多芬尼斯(Aristophanes)之古典舊喜劇中見得:在那裡的每個劇本之中,一個反轉現存以及壓迫性之社會秩序的烏托邦願景被提出、被辯護、被執行,然後以狂歡宴飲或結婚慶賀來終結,換言之,即komos。因此看起來似乎有可能在對亞裏士多芬尼斯做一番嘉年華式的解讀時,將會對我們理解亞裡士多芬尼斯的某些向面,有些助益。 本研究係由三個部分所構成。第一章係關於希臘喜劇採取嘉年華理論的可行性。在這一章之中,有關舊喜劇的背景知識會加以介紹,特別強調其所具有之市民城邦脈絡的層面。舊喜劇本身是種體制性的論述(institutionalized discourse),在一個高度競爭性的論述空間之中,對“公共聲音”做出強烈的宣稱;它本身是種由雅典市民權威所贊助、並訴諸此權威之文類,一種將雅典之自我形象投射給自己,並投射給外在世界的活動;它不可能是種為藝術而藝術的作品。而所祭祀之酒神本身即是位逾越規範的神祇,在祂節慶之中的美酒、豐盛食物、平等主義以及解放,對既有秩序之暫時停擺,在氣氛上便是嘉年華。除此之外,這位神明所創造出的嘉年華是種“儀式性反轉”的場合,在此我們可以見到喜劇在進行它顛覆典範的遊戲,並且以不同方式來呈現其烏托邦之願景,例如女人以性罷工來停止男人的戰爭或建立一個以鳥族為首的烏托邦國度。 亞裏士多芬尼斯在這種反轉行為中所使用之修辭技巧叫嘲諷(parody), 然而嘲諷是種必須同時之間預設嘲諷行為以及嘲諷對象的技巧。於是乎喜劇就此意義而言,必須包含於其自身對現有秩序之保存以及其否定,一種同時發生的延續以及中斷。這使人對所謂的烏托邦願景引起質疑:假如喜劇是種由雅典人民所贊助並訴諸雅典人民之論述,那麼喜劇便不可能說是社會壓力之洩壓的安全瓣膜而已;事實上,它其實是一種對現有秩序所具有之更深刻合法性(deeper legitimacy)的堅持行為。從這裡我們才真正地踏入希臘喜劇的嘉年華理論。而當我們更進一步發掘舊喜劇在其功能上的雙向作用,我們越能理解嘉年華以及喜劇皆可被用來做為一種最高超的權力使用,允許自己被週期性地被進行儀式性之挑戰,而其目的是為了更加鞏固權力。 第二章則是對這理論所進行之測試,特別以亞裏士多芬尼斯之《雅典女人在婦女節》(Thesmophoriazusae)作為範例。在這一章之中,我設法指證出來性別之建構乃論述之行為,於是乎性別(gender)與文類(genre)之密切關連必須加以堅持肯定。《雅典女人在婦女節》係是一連串嘲諷由悲劇詩人優律皮底斯(Euripides),這位厭惡女人(misogynist)的詩人,所代表之對性別問題的傳統智慧,進行喜劇性之反轉。於是乎我們發覺從悲劇到喜劇的文類(genre)界線開始模糊,而這導致男女性別(gender)界線也跟著模糊。所以我們會發覺異裝現象(transvestism),裝扮異性(impersonation) 以及其他踰越性別規範的現象與文類之混淆同步進行。我在此亦對《雅典女人在公民大會》做一結構上及主題上的分析。 在最後一章,則是這劇本之中文翻譯。

並列摘要


This study is devoted to the possibility of a carnivalesque theory of Greek Old Comedy and its implication for our interpretation of it. The carnivalesque model is an anthropological theory originated from the Russian thinker, M. Bakthin, in his research on F. Rabelais' Gargantua (Ca. 1534). This model praises the utopian vision in a carnival, which is located here and now, with a complete overturn of the established order, a full liberation of individual from the constraints externally imposed from outwith and an ecstatic celebration of food, flesh and feces, in short, a Lebensphilosophie that worked against classical aesthetics of form and self-control. A similar situation can be found in the classical Old Comedy of Aristophanes, where in each play a utopian idea that reversed the existent and repressive social order was put forward, defended, carried out and ended with a convivial feast or wedding celebration, komos in short. Therefore it seems likely that a carnivalesque reading of Aristophanes would shed light on our understanding of Aristophanes on some aspects. The present study is consisted of three parts. The first chapter is about the possibility of a carnivalesque theory of Greek Comedy. In this chapter the necessary background of Old Comedy is given, with an emphasis on its civic context. The Old Comedy was an institutionalized discourse, with a claim for the public voice in a very competitive discursive space; it was a genre sponsored by and addressed to a the Athenian authorities, a projection of Athens' self-image to itself and to the outside world at large; it could never be an art purely for the sake of art. In addition, an exploration of the ritual, i.e., Dionysian, context is attempted. The god himself in the Dionysia was a god of transgression and category-breaking: the sweet wine, abundant food, egalitarianism and liberation, a temporal suspension of the established order, in a festival sacred to him, were carnivalesque in atmosphere. Moreover, the carnivalesque space this god created was an occasion for ”ritual reversal”, and so we see comedy play out the reversal of norms and represent its vision of utopia in different forms, such as sex strike to stop war or the set-up of a Utopia called Cloud-cu-cu-Land. The most important rhetorical device deployed by Aristophanes in this act of reversal was parody, but parody was a device that must presuppose both the act of parody and the object for parody at the same time. Comedy in this sense must contain within itself the preservation of established order as well as its negation, a continuation and disruption at the same time. This raises a question abut this allegedly utopian vision: if comedy was a discourse sponsored by and addressed to the Athenian people, then comedy could not merely be a device of social safety-valve for the release of social aggression; it is, in fact, an act of deeper legitimization for the established order. From this we step formally into the carnivalesque theory of Greek Old Comedy. As we delve further into the implication of the double vectors of Old Comedy in its functions, the more it is understood carnival and comedy were both used as a superlative exercise of power which allowed itself to be regularly contested ritually in order to be more in control. The second chapter is a test case of this theory, with Aristophanes' Themophoriazusae as example. In this chapter I try to point out the construction of gender as a matter of discourse and therefore the close connection between gender and genre must be affirmed. Themophoriazusae is consisted of a series of parody of the traditional wisdom of gender as it was represented by the misogynist Euripides. With his comic inversion of Euripides' tragedies we will find the boundary of genres blurred, with the consequence that disturbs the boundary of gender. Therefore, we find transvestism, impersonation and other acts of gender-crossing go together with the mixture of genres. I also give an analysis of the structure and themes of Thesmophoriazusae in this chapter, too. In the last chapter I give a Chinese translation of this play.

被引用紀錄


吳依屏(2011)。亞里斯多芬尼斯《利西翠妲》、《地母節婦女》及《集會婦女》中的陰性身體與怪誕笑聲〔碩士論文,國立臺灣大學〕。華藝線上圖書館。https://doi.org/10.6342%2fNTU.2011.01658

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