To live in a mirror new dimensions of subjectivity in Heiner Müller’s Hamletmachine /
There is a tendency in postmodern drama to problematise the nature and the position of the subject in literature. As opposed to the Cartesian theory of the ego, it is not conceived anymore as a unanimous entity that has the power to control sign-systems, but as a heterogeneous subject in process, wh...
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| További közreműködők: | |
| Dokumentumtípus: | Könyv része |
| Megjelent: |
2012
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| Sorozat: | Acta Universitatis Szegediensis de Attila József nominatae : papers in english and american studies
22 Papers in English and American studies : Tomus XXII. - Distinguished Szeged student papers 22 |
| Kulcsszavak: | Német irodalom története |
| Tárgyszavak: | |
| Online Access: | http://acta.bibl.u-szeged.hu/68854 |
| Tartalmi kivonat: | There is a tendency in postmodern drama to problematise the nature and the position of the subject in literature. As opposed to the Cartesian theory of the ego, it is not conceived anymore as a unanimous entity that has the power to control sign-systems, but as a heterogeneous subject in process, which is inscribed into discursive locations by signifying practices in order to be given an identity. My purpose is to show how Heiner Midler's Hamletmachine deconstructs the traditionally conceptualised ego, and shows up in the process of identification that it is a constant construction, and its identity is assigned to it from the outside. Social power strategies and unconscious psychic processes are responsible for the constitution of the subject, which emerges as an interface of the social/cultural, the psychic and the corporeal. Not only does the drama selected for analysis demonstrate the ontology and the epistemology of the subject, but, in my view, also functions as a textual and theatrical "machine" that processes and transforms the reader/ spectator who is put inside. The drama employs intertextual elements from Shakespeare's Hamlet, its primary reference point in canonical literature. The plays shall be deconstructed in their interrelationship from the perspective of the semiotics of the subject, in order to demonstrate the new notion of subjectivity that emerges in/through literature, in which the human being gains its identity not by speaking, but by being spoken by the ideological configuration of the cultural period in which it is situated. The principal conclusion is that Hamletmachine functions as a mirror in which the subject can potentially perceive the artificial nature of its existence (deconstruction, Heiner Miiller, semiotics, Shakespeare, signification, subjectivity). |
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| Terjedelem/Fizikai jellemzők: | 131-157 |
| ISBN: | 978-963-482-991-1 |
| ISSN: | 0230-2780 |