가정/국가 이데올로기에 도전한 여인:메데아의 경우

Abstract

Monstrous mothers, in the Greek plays, functioning as vehicles for confronting ideological change are motivated by blood ties and familial passions. Their existence threatens the integrity or continuity of the polis, an entity headed and controlled by the figure of the male monarch, and which requires in contrast an attachment or relationship to abstractions like law, nation, and good or bad rule. What Renaissance writers found in them was the struggle between the state/family ideology and the feminine attachments to blood and primal familial ties.Medea is the specter as vehicles for Euripides to examine the conflict between the ambiguous sense of maternal responsibility in a household and the continued patriarchal fact of women's legal subordination. She is unique in fifth-century drama for seizing center stage, speaking on her own behalf; in so doing, she signals that ideologies representing women's bodily function as reproductive vessels for male see, as passive, secure, compliant regenerators of the male line, are likewise under assault. Medea completes her usurpation of masculine prerogative by executing Jason's male heirs and the new wife who might bear him further children.In conclusion, Euripides manifests through Medea's murdering her children the feat that women are by nature disordered, and when given power through motherhood are liable to lapse into extreme evil, uncontrollable passion, and monstrous acts.