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

Abstract

本論文研究範圍集中於亞里斯多芬尼斯三部與女性相關的劇本：《利西翠妲》、《地母節婦女》與《集會婦女》，合稱為《女人三部曲》。這三個劇本的文本意識極為密切相關。它們全都環繞同一個主題：女性。不論是語言性格或服裝扮演，總言之，女性構成劇本內容的基底核心。最重要的，陰性身體成為男女兩性討論操作性別議題的發聲場域。本論文試圖利用巴赫汀的狂歡節理論與三位後現代女性主義學家的性別論述深入剖析《女人三部曲》中的曲折細微。 本論文第二章分別在第一節與第二節中討論狂歡節理論與女性主義各自對陰性身體與怪誕笑聲的觀念主張。最後，在第三節中集中分析比較這兩派理論間的呼應矛盾與其中可以應用比較之處。 論文三至五章則分別利用此兩種理論詮釋剖析《利西翠妲》、《地母節婦女》及《集會婦女》三部劇本。在《利西翠妲》中，亞里斯多芬尼斯受限於男性單一意識形態的框架，文本中的女性實質上是鞏固男性權威的工具。此外，因為作品本身單一絕對的意識形態，造成劇中狂歡笑聲的微弱單薄。不過，在《地母節婦女》中，亞里斯多芬尼斯運用大量的反轉跨越條件鋪設陰性特質與怪誕精神的活動基調。文類的跨越、性別的扮演、身體及語言的混合交錯等，這些狂歡化原則的運用帶來劇中身體與笑的解放重生。在《集會婦女》中，亞里斯多芬尼斯藉由烏托邦理想的戲劇性書寫，提供我們陰性力量的無限可能與怪誕笑聲的活躍實踐。觀看反思此三個劇本的文本脈絡，我們可以清楚洞察解讀《女人三部曲》的一種嶄新特別的路徑，一條越來越樂觀的陰性怪誕路線。

The range of this thesis focuses on three plays written by Aristophanes which related with women: Lysistrata, Thesmophoria, and Assemblywomen. The substance of these texts all has correlation because their topics all enclose with one subject: women. No matter in aspects of language or personality or impersonation, in a word, female is the basic core of these texts. The most important of all is that the female body becomes the territory for male and female to discuss and practice the sex issue. The thesis tries to use Bakhtin’s Carnival Theory and the sexual arguments of post-feminists to analyze deeply into the complications and slightness of these plays. In the second chapter of the thesis, I debate about the conceptions of the Carnival Theory and Feminism associated with feminine body and grotesque laughter separately in the second section and the third section. Finally, I concentrate on comparing the correspondence and contradiction and the gap which can be imagined and applied between the two theories. In the third and fourth and fifth chapters of this thesis, I utilize the two theories to interpret and anatomize the three plays. In Lysistrata, Aristophanes is limited to the scope of ideology of monopolistic masculinity. The women in the text v are virtually the tools to consolidate the masculine authority. In addition, on account of the single and absolute ideology of the text, it causes the weakness and feebleness of the Dionysian laughter in the work. However, Aristophanes uses lots of reverse and transgressing conditions to build the foundation of femininity and grotesque in Thesmophoria. Applying the saturnalian principles such as the transgression of genres, the production of sexuality and the combination between body and language provides the release and rebirth of body and laugh in the play. Aristophanes furnishes us with the unlimited possibility of feminine power and the animating practice of grotesque laughter by the dramatic writing of ideal Utopia in Assemblywomen. By introspection the textual concept of the three works, we can see clearly a new and special path that is a more and more optimistic way leading to feminine grotesque to interpret these plays.