English  |  正體中文  |  简体中文  |  Items with full text/Total items : 90429/105609 (86%)
Visitors : 10333854      Online Users : 430
RC Version 6.0 © Powered By DSPACE, MIT. Enhanced by NTU Library IR team.
Scope Tips:
  • please add "double quotation mark" for query phrases to get precise results
  • please goto advance search for comprehansive author search
  • Adv. Search
    HomeLoginUploadHelpAboutAdminister Goto mobile version

    Please use this identifier to cite or link to this item: http://asiair.asia.edu.tw/ir/handle/310904400/19255

    Title: ";Father, Don't You See I'm Burning?";: The (Un) Staged Terrors in Schiller's The Maid of Orleans, Shaw's Saint Joan, and Anouilh's The Lark
    Authors: Wu, Hsin-Fa
    Contributors: Department of Foreign Languages and Literature, Asia University
    Keywords: Joan of Arc;terror;dream;representation;unconscious;metatheatre;Schiller;Shaw;Anouilh
    Date: 2011-06
    Issue Date: 2012-11-28 13:34:10 (UTC+8)
    Abstract: This paper attempts to investigate possible implications of the terrors, staged or unstaged, in three plays about Joan of Arc written by Schiller, Shaw and Anouilh. Since terrors are quite often something uncanny, homely and unhomely at one and the same time in Freudian terms, encounters with them may allow us a glimpse of the unconscious or the Real in a Lacanian sense. Yet in none of the three plays under discussion is Joan's terrible death on the stake brought onto the stage. Instead, Schiller's The Maid of Orleans totally removes the burning scene and endows Joan with a heroic death in the battlefield; Joan's terrible encounter with the Black Knight reveals her potential desire and her denial of it bears out her search for the soul at the expense of desire. The Epilogue to Shaw's Saint Joan, in the form of Charles's dream, presents canonized Joan's wish for resurrection as extreme horror and hence casts its ironic critique on the Church and the whole world. Anouilh's The Lark, in its metatheatrical style, lays bare not only the devices of theatre as politics but also those of politics as theatre, while its "mistake" in the performing sequence, together with the missing of the burning scene and the connotations of the image of lark, well justifies itself as a Freudian slip which both conceals and reveals the terror behind the scene. Whether it is staged or not, terror always haunts these three plays.
    Relation: Asian Journal of Arts and Sciences 2(1):93-114
    Appears in Collections:[Asian Journal of Arts and Sciences ] v.2 n.1

    Files in This Item:

    File Description SizeFormat
    6.pdf154KbAdobe PDF1037View/Open

    All items in ASIAIR are protected by copyright, with all rights reserved.

    DSpace Software Copyright © 2002-2004  MIT &  Hewlett-Packard  /   Enhanced by   NTU Library IR team Copyright ©   - Feedback