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|標題:||Living on the Edge: ＂The Mise-en-Scène＂ and the Marginialized Self under the Reign of Terror in Georg Büchner's ＂Danton's Death＂||作者:||Hsin-Fa Wu
|關鍵字:||畢希納;旦通之死;場景調度;邊緣化自我;空間;恐怖時代;法國大革命;Büchner;＂Danton's Death＂;mise-en-scène;marginalized self;space;Reign of Terror;French Revolution||Project:||Intergrams, Volume 15, Issue 2, Page(s) 1-28.||摘要:||
This paper argues that the spatial design of the mise-en-scène in Georg Büchner's ＂Danton's Death＂ is well built into his portrayal of the individual as marginalized self in the French Revolution. The paper is divided into four parts. The introduction briefly explains Büchner's critical reflection on the brutal tyranny of history's Grand Mechanism and the meager existence of human individuals and justifies the importance of spatial structure in the play. The first part of the main body examines the analogously marginalized existence of the two political rivals, Danton and Robespierre, with focus on their seemingly different but implicitly similar presence of being too less marginalized and too much marginalized at one and the same time. The second part explicates the sorry plight of the common people and the female characters, including the poverty and brutality of the san-culottes, the idealization of Julie and Lucile, and particularly the metaphorical significance of the larger-than-life nymphomaniac Marion, who is considered an inherent rival equal in weight to Robespierre. A particular spatial design especially discussed in both parts is the moments when Danton, Robespierre, Julie, Lucile, and Marion are respectively presented at the window, deliberately brought to the verge, to a ＂boundary＂ for the ＂presencing＂ of their existence. Finally, the conclusion summarizes all the discussions on the individuals living on the edge.
|Appears in Collections:||第15卷 第02期|
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