Please use this identifier to cite or link to this item: http://hdl.handle.net/11455/6833
標題: Multiple Perspectives and Voices in Bertolt Brecht's Life of Galileo
布萊赫特《伽利略傳》中的多元觀點及聲音
作者: Hui, Lu Yen
呂燕惠
關鍵字: 貝爾托特‧布萊赫特;Bertolt Brecht;多元觀點;視野及聲音;辯證劇場及史詩劇場;宗教及科學;間離效果或陌生化;個人及社會;望遠鏡;宗教及科學的操縱;Multiple Perspectives;seeing and Voices;Dialectical theatre and epic theatre;religion and science;A-effect or Alienation effect;Individual and Society;the telescope;Scientific and Religious Manipulation
出版社: 外國語文學系
摘要: 
Abstract
In 1938, Brecht completed Life of Galileo, a historical play describing Gali-leo's twists and turns, glory and changes in his whole life with the heliocentric theory proposed, recognized, and abolished, and rewrote the play in 1945 and 1955. The play concentrates not only on the single man, Galileo, but also on the coexistence and the interrelationship of those issues proposed in his dialec-tical theater concerning individuals and the society. Accordingly, the intention to emphasize any specific topic of the play must be a certain distortion - - no matter it is about the individual or the totality. Therefore, this thesis will proceed from the most obvious debate between religion and science, the potential exclusive-ness of a single viewpoint or narrative, to the inevitability of the permanent re-placement among perspectives, which are hidden under the main topic. Be-sides, I will explicate the reason why Brecht deliberately arranges the other op-posite viewpoint under many issues. By their contradictions and conflicts, Brecht prevents those perspectives from being entirely extracted into the totality. Except for the presentation of multiple perspectives in its content, Brecht stops and suspends observers' empathy by inserting into its form “constant interrup-tions or interventions,” techniques of the dialectical theater. Through this kind of distracted observation, observers are expected to form criticism by themselves with a reference to past events and present issues.

摘要
《伽利略傳》是布萊赫特於1938年完稿,1945年及1955年兩度改編的一部歷史劇, 描繪伽利略一生因地動說的提出、認可、及撤銷所歷經的個人波折、榮耀、及改變。此部作品所著墨的不僅是單一的伽利略一人,那些依循著他的一生所衍生的主題也是布萊赫特所極力倡導之辯證劇場中個人及社會的一種相生、相關性。因此,試圖突顯劇中任何一個特定的主題的企圖─不論是個體或集體─都是對此劇做某種程度的扭曲。 有鑑於此,此篇論文,將由最明顯的宗教與科學間之爭論出發,探尋隱藏於此爭論中,單一論點或論述潛在的排他性以及一種觀點與觀點間無可避免地恆常的動態取代。另外,我將針對諸多主題,說明布萊赫特為何在每個論點中始終特意安排另一個與之截然對立的觀點,藉著產生之衝突及矛盾,來防止集體內化的可能。布萊赫特除了在內容上展現多元觀點外,在形式上,更運用辯證劇場的技巧,以一種「不時干擾」的手法來間斷、中隔觀察者的神入,便於使其不斷地將當代的時事問題參照以往的歷史事件而加以省思及批判。
URI: http://hdl.handle.net/11455/6833
Appears in Collections:外國語文學系所

Show full item record
 

Google ScholarTM

Check


Items in DSpace are protected by copyright, with all rights reserved, unless otherwise indicated.