아리스토파네스의 리시스트라테 에 나타난여성과 연극성
Women and Theatricality in Aristophanes' Lysistrata
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In this article I argue that Aristophanes' Lysistrata is similar to Sophocles's Antigone as Judith Butler analyzes in her Antigone's Claim, and that in her political project Lysistrata employs the theatrical strategies, the masquerade that Mary Ann Doane suggested as a form of resistance. First I maintain that Lysistrata, like Butler's defiant Antigone, presents herself as a manly woman and thus transcends the traditional division of authority, based on sexual difference. Both Lysistrata and Antigone perform political tasks unusual for females, entering into the arena of politics, showing a mocking attitude towards a man of authority, and possessing a certain amount of will power. But unlike Antigone who defies the state by absorbing "the very language of the state against which she rebels"(Antigone's Claim 5), Lysistrata contests the power of the male politician's statement through a powerful set of theatrical acts and comic devices. I also assert that Mary Ann Doane provides a theoretical frame for seeing Lysistrata's theatrical strategies, as shown in women's sex-strike and her presentation of a nude girl named 'Reconciliation,' as subversive masquerading strategies, games of assuming the traditional feminine roles deliberately. That is, I consider the erotic taunting of Kinesias by Myrrhine and the presentation of the nude girl 'Reconciliation' as sexual manipulation of men by Lysistrata and the other Greek women. I emphasize both Myrrhine and 'Reconciliation' become the femme fatales in that they use their body and sex as a disguise for their particular gains. In this sense this article offers two feminist interpretations to Lysistrata-- Lysistrata who is outside the patriarchal division of sexual difference and Lysistrata who manipulates men through the intentional adoption of masquerading strategies.
Abstract
In this article I argue that Aristophanes' Lysistrata is similar to Sophocles's Antigone as Judith Butler analyzes in her Antigone's Claim, and that in her political project Lysistrata employs the theatrical strategies, the masquerade that Mary Ann Doane suggested as a form of resistance. First I maintain that Lysistrata, like Butler's defiant Antigone, presents herself as a manly woman and thus transcends the traditional division of authority, based on sexual difference. Both Lysistrata and Antigone perform political tasks unusual for females, entering into the arena of politics, showing a mocking attitude towards a man of authority, and possessing a certain amount of will power. But unlike Antigone who defies the state by absorbing "the very language of the state against which she rebels"(Antigone's Claim 5), Lysistrata contests the power of the male politician's statement through a powerful set of theatrical acts and comic devices. I also assert that Mary Ann Doane provides a theoretical frame for seeing Lysistrata's theatrical strategies, as shown in women's sex-strike and her presentation of a nude girl named 'Reconciliation,' as subversive masquerading strategies, games of assuming the traditional feminine roles deliberately. That is, I consider the erotic taunting of Kinesias by Myrrhine and the presentation of the nude girl 'Reconciliation' as sexual manipulation of men by Lysistrata and the other Greek women. I emphasize both Myrrhine and 'Reconciliation' become the femme fatales in that they use their body and sex as a disguise for their particular gains. In this sense this article offers two feminist interpretations to Lysistrata-- Lysistrata who is outside the patriarchal division of sexual difference and Lysistrata who manipulates men through the intentional adoption of masquerading strategies.
참고문헌 (25)
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