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題 名 | 土生土長為雅典人之憲章神話=Autochthony as the Charter Myth of the Athenians |
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作 者 | 翁嘉聲; | 書刊名 | 西洋史集刊 |
卷 期 | 9 1999.12[民88.12] |
頁 次 | 頁127-180 |
分類號 | 284.95 |
關鍵詞 | 希臘神話; 憲章神話; 土生土長; 市民城邦; 雅典; 雅典娜; 希臘女性; 喪禮演說詞; 優律皮底斯; 希臘悲劇; 殖民主義; Greek mythology; Charter myth; Autochthony; Polis; Athens; Athena; Greek women; Epitaphios logos,funeral speech; Euripides; Greek tragedy; Creusa; Ion; Colonialism; |
語 文 | 中文(Chinese) |
中文摘要 | 本論文係關於雅典之土生土長(autochthony)的神話。這種神話解釋雅典人乃由土地之中生長出來。一些有關民族之起源的神話中,所表達者往往對社會現今之關懷,而非對過去做歷史記錄。在雅典人之土生土長的神話中,它具有解釋雅典人彼此之間,雅典人與他們所居住之土地,以及他們與其他人如何相異之功能。這是一個用來認定(identify),定義(define)以及驗證(justify)創造這神話並且使這神話具有文化優越地位的民族。就這意義而言,土生土長神話乃是雅典人最典型之憲章神話(charter myth)。 這個神話可以建構某種具有諸多政治意涵的世界圖像:因為雅典人都出生於相同的母親(Gaia,大地),所以他們復此是兄弟而且相互平等,於是民主政體(demosatia)乃是邏輯上之必然;他們自始至終居住於相同之土地,未曾驅逐其他之原住民,所以他們對土地之宣稱乃是合法的,所以維持正義和尊重法律乃是他們天生之品德;他們是大地之子,而大地產生了許多不同作物來滋養他們,而他們非常?概地與其他人類分享這些文明的食物。雅典人認為他們出身高貴(eu-genes, well-born)乃因為他們出生於大地(ge-genes, earth-born),而如此之堅持可由他們所享有之社聖庇佑以及一連串以波斯戰爭為最高潮的歷史成就來加以證明。然而在另外一面,這些土生土長的神話是厭惡女人的(misogynic),因為這神話是整套意識型態包�堛漣熏舅坐@,刻意避免女性乃是真正之生親的簡單生理事實。這樣的政治意識型態很明顯地具有將女人排除在所規劃的安排佈置之外。 在本論文中將會對這土生土長神話所進行之不同種類之論述進行探討。在簡短的闡述方法論之後(第一章),對其在陶瓷畫像之不同方式之表現做一分析(第二章)。從這圖像學的研究(iconography)中可以推論,在種種的表現細節之中,其中持續著一個主題,亦即雅典娜及Erichthonius的彼此相認(anagnorisis)。也就是這種社會認可(social recognition)解釋了大地之母與雅典娜之間不同的角色:一位是自然的(或生理上的)生親,而另一位則是文化上的生親,而就是依此意義使得雅典娜成為雅典人之守護神,而雅典人成為雅典娜之子孫。 在這個圖像學研究之後,我們來到喪禮演說辭(epitaphios logos)這文類(第三章)。這是一年一度國喪場合中為那些為國捐驅者所做之演講,地點乃是公墓(demosia sema)所在之Kerameikos。這是種高度人造化的文類,但對我們重建雅典人在將自己理想化以及心願滿足上所具有之社會想像(social imaginary),十分重要。在這文類之中並沒有對個別之人的讚揚,而是對雅典人整體歌頌,而這又進一步的晚話成為對來民城邦(polis)之偉大的詠嘆。這文類被體制化為民主政治之一部份。土生土長神話在這種文類之中不停地浮現,成為這種偉大的緣由。 優律皮底斯(Euripides)的悲劇Ion亦是一件與土生土長神話有關之體制性的表達(第四章)。在這劇本之中我們可以見到土生土長做為雅典政治論述之一部份所具有之”文本間”(Inter-textual)的性質。除了土生土長的神話外,優律皮底斯還創新了一個新的神話,以奧林匹亞阿波羅與土生土長之雅典公主Creusa的後代英雄Ion為核為。Ion為愛奧尼亞(Ionia)四部落的名祖祖先(eponymy)。這個事實非常容易來驗證、肯定雅典在五世紀時期帝貫主義的擴張行為。優律波底斯這種將Ion轉化為結合雅典土生土長以及愛奧尼亞擴張,雅典民主及雅典帝國主義行為的象徵,可以說在某種意義上為雅典在五世紀的政策作了一個重要的政治性背書。這種探討土生土長之政治意思的嘗試,是要重建雅典人之社會想像;雅典人究意如何看待他們自己及證驗他們自己。藉由如此之重建我們可以發覺研究古典希臘史之學生可以將一種很重要的史料來源-希臘神話-從至今仍是掌握在研究文學之人的手中,要求索回。 |
英文摘要 | 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. Rabelain’ 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 constrains externally imposed from outwith and an ecstatic celebration of food, flesh and feces, in short, a Lebensphilosphie 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 scared 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 Utopian 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 about 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; Themophorizusae 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. Themophorizusae 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 to together with the mixture of Thesmophoriazusae in this chapter, too. In the last chapter I give a Chinese translation of this play. |
本系統中英文摘要資訊取自各篇刊載內容。