臺灣博碩士論文加值系統

Abstract
Through his one-act plays about death, Maurice Maeterlinck shows us the power relation between death, the author the readers, and the audience. The efforts to grasp the clear image of death made by the author seem to prove in vain all the time, and the will of the authors to express philosophical ideas through the play to the audiences faces more difficulties. The purpose of this thesis is to discuss the obstacles playwrights may encounter when they try to present the image of death on stage. Taking Maurice Maeterlinck as an example, we will discuss the approaches he used to depict the image of death, and to examine what effects such approaches may have on the audience and on the author himself. Finally, we will try to analyze the positions of the readers and the audience when they read or see the performance.
In the first chapter, we will investigate the discourse of death through several Hegelian philosophers, such as Hegel, Kojève, Sartre, and Lévinas to see that death is always outside the world of human beings. Any discourse about death is not death in itself, because it is always incomprehensible through language. In chapter two, we clarify the limits caused by the system of language, and find authors who are good at gazing at the readers and the audience are actually most tightly involved in the system of language. In chapter three, we will discuss Barthes’ theory of the death of the author to depict a web of language which is so firm that no one can escape. Finally, we will examine Maurice Maeterlinck’s theory of “Static Theatre” to see how he makes use of silence to gain more freedom for human beings to live within this web of language.

Table of Contents
Abstract iii
Introduction 1
I. Analyzing Death from a Hegelian Points of View 10
A. What is death? 10
B. The Master/Slave 13
a) Desire/Negation 13
b) Recognition→A Fight to the Death 14
c) Fear→Bondage 16
d) Ontological Recognition of Death 17
C. Facticity/Freedom 20
a) Consciousness/facticity 20
b) Facticity of death 21
c) Freedom of Life 23
D. Levinas 24
a) Il y a 24
b) Other’s Death 26
c) Transcendence 27
E. Decadence, Symbolism, Death 28
a) Nineteenth Century: An Unstable Society 28
b) Decadence 29
c) Symbolic Death 31



II The Desire of Watching/ the Anxiety of Being Watched 35
A. Who’s Watching? / Who’s Watched? 35
B. The Dialogue between Nothing and the Author 38
a) Il y a and being 38
b) The Invisible Gaze 40
c) The Surveillance Within— General Feelings 42
C. The Desire of Watching/The Anxiety of Being Watched 46
a) The Seductive Reading 46
D. Watching Maurice Maeterlinck 50

III. Is There an Exit? 57
A. Barthes’ “Death of the Author”/ The Birth of the Readers 59
a) The Author as a Performer Rather than an Owner of Language 59
b) The Necessity for an Author to be a Reader 61
c) The Necessity for a Reader to be an Author 65
d) The Trap of Language— the Death of the Readers 67
B. Symbolism Theatre 69
a) Anti-Naturalism 69
b) Static Theatre 70
c) The Freedom of Interpretation 73

Conclusion 76
Bibliography 79

Bibliography
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