臺灣博碩士論文加值系統

在蘇弗克里茲的<<安蒂岡妮>>一劇中，安蒂岡妮認知到女性的受壓迫來自四方面：性別 / 構造系統、婚姻、男性暴力、和錯誤意識。就馬克思女性主義而言，男子氣概和女性陰柔受到性別 / 構造系統的控制，從性別系統來看，女性陰柔被男性思想形態操控，男性氣概意謂著野心、企圖心和理性，但是女性陰柔卻要順從且服從男性、不可以有自己的看法，並且男人認為女人不可能有理性。在安蒂岡妮一劇中，當安蒂岡妮要求妹妹依絲米妮與她一起埋葬她們的哥哥玻利奈希茲，依絲米妮不願意，因為她必須服從新國王克里昂的命令--男人至高無尚的權威不容忽視和違背，安蒂岡妮的執意埋葬，在父權的眼中，是不智也不理性。
從構造系統來看，在體型上女性不如男性。劇中依絲米妮屈從克里昂的權威，是因為體型上的男強女弱，是女性的不幸且無法改變的命運，女性體型的劣勢，產生男優於女的論調，女性被迫服從男性。
在婚姻中，如果安蒂岡妮結婚的話，她的身體不再屬於她的，而是屬於男性的。歌舞隊歌頌愛情的偉大，象徵婚姻是女性的唯一歸宿，家庭是女性的避風港。對男性而言，每個女孩都想結婚成為人母就是母性。就馬克思女性主義而言，婚姻的基礎不再是愛情，而是財產的繼承，母親在婚姻中沒有自我，生孩子是為了繼承財產，所以母親與孩子間關係疏離。安蒂岡妮放棄與希門結婚的機會，她不願意成為男性財產繼承的工具。
安蒂岡妮監持埋葬她的哥哥玻利奈希茲，克里昂忿怒異常，決定將她活埋。原因在於埋葬是男人的事(公眾的事)，非女人的事(私人的事)。就馬克思女性主義而言，公眾空間屬於男人，而私人空間屬於女人，女人只能呆在私人空間，不可以進入公眾空間。若違反，男人會以暴力(在此劇中是活埋)使女人就範。安蒂岡妮埋葬她哥哥的理由，希望女人不再受限於私人空間，而能進入公眾空間。藉著埋葬一事，爭取女性進入公眾空間的機會，即使死，在所不惜。
依絲米妮與尤瑞迪息(克里昂之妻)雖貴為公主和皇后，聽令於男性，卻不知男性與女性地位的不平等，悉受於錯誤意識的誤導。直到依絲米妮在皇宮中，願意與安蒂岡妮共同接受克里昂的處罰，她自知沒有安蒂岡妮，她無法獨活。而且尤瑞迪息在她兒子希門死後，方知一直順從克里昂的命令，無法挽回她兒子的性命，喪子之痛令她心碎。她們兩位終於知道，唯有放棄錯誤意識，方能不再聽令於男性，且知男性是壓迫者，女性是被壓迫者，無論女性如何順從男性，地位也不可能平等，只有認清女性是不同於男性的另一階級，女性方有機會與男性爭平等，這就是真正意識。當依絲米妮接受安蒂岡妮的生死與共，且尤瑞迪息以死反抗克里昂，此時她們放棄錯誤意識，獲得真正意識。她們三者不再畏懼死亡，因為死亡是生的另一開始。

Antigone, according to Marxist feminism, admits the truth that the oppression of women results from a gender / biology system, a marriage system, male violence, and false consciousness in Sophocles' Antigone. In Antigone-Ismene's scene, Ismene will not help her to bury their brother Polyneices because she must submit to Creon's order. Submission is described as Ismene's femininity and aggression as Creon's masculinity. In a gender / biology system, masculinity and femininity are constructed by male-ruling ideology. A series of negative female values are imposed by men. Femininity equates with submission and irrationality, but masculinity with aggression and rationality. Creon's exposing the dead is rational; but, Antigone's burying her brother Polyneices is irrational. As Creon's aggression means that man is the creator of state, so does Ismene's submission that woman is the subordinate of man's order.
Antigone does not accept marriage because she hopes that her reproduction will not be a tool for the transfer of Haemon's future throne. The relationship between husband and wife is not equal. Husband is the oppressing and wife the oppressed. In Third Choral Ode, the Chorus praise the greatness of love. Marriage, as to men, is a peaceful harbor. Men has kept women convinced that mothering is their job. In accordance with Marxist feminism, marriage is based not on love but on property. In marriage, women's reproduction serves as a vehicle for the transmission of a father's private to children. The relationship between Mother and Child is isolated. Speaking of motherhood, men encourage women to be mothers. Antigone refuses to be the tool for the heritage of Haemon's future throne. The princess seems to be the dominant woman. But, wife means having no Self and must be obedient to man's order. There is no personal freedom for her if she gets married.
Creon's punishment on Antigone-burial alive-is a violence to prohibit women from going into the public sphere. Burial is a public activity. Women are associated with the private sphere and men with the public one. If women have been limited in the private sphere, they are the captives in a man-made institution. Antigone's burial for her brother Polyneices calls for women's equal rights to enter the public sphere. Male violence devalues women as subordinate. The Chorus and Teiresias are the representatives of the public sphere. Although they admit the fidelity and piety of Antigone's burial for Polyneices, they blame Antigone for her having offended against the state's law. Burial is held by men, not by women. Women must keep themselves in the private sphere, not try to go into the public one.
At the beginning of the play, Antigone acknowledges that she and Ismene, destined to be the princesses, have no equal right with Creon, the king. The princess seems superior to the common people. But, if she does not obey the king's order, she will be punished like the common people. Therefore, her "superior" is false consciousness. At the end of the play, Eurydice, the queen, protests against Creon's authority through her death. On the surface, the queen has an equal stance with the king. As a matter of fact, she is inferior to him. False consciousness is that men the oppressing deceive women the oppressed into thinking they have equal rights with men and are able to act as men. True consciousness is based upon sex class and reproduction. Sex class means that when women recognize themselves as a class and work together, then they will have an equal stance with men. To respect reproduction is to respect the ties of blood, the maternal lineage. Antigone's brotherly love for Polyneices belongs to reverence for those of the same womb. Eurydice grieves over her dead son Haemon. To lose Haemon is to lose her maternal lineage, her reproduction. True consciousness allows women to perceive reality with their eyes, not with those of the man-ruling class. Antigone's acceptance for burial alive, Ismene's willing to share with Creon's punishment on Antigone, and Eurydice's protesting against Creon through suicide mean that in order to acquire true consciousness, they must get rid of false consciousness through sex class and reproduction. They, however, are not in fear of man the oppressing class any more because death is a resource of rebirth

Table of Contents
Abstract------------------------------------------------------------------------I-VI
Chapter 1: Introduction------------------------------------------------01-06
Chapter 2: A Gender / Biology System--------------------------- 07-21
Chapter 3: Marriage----------------------------------------------------22-35
Chapter 4: Male Violence---------------------------------------------36-48
Chapter 5: False Consciousness------------------------------------49-71
Chapter 6: Conclusion-------------------------------------------------72-74
Selected Bibliography----------------------------------------------------75-79

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