{"title":"蕾西亚·乌克兰卡、唐璜与欧洲:《石匠》中的意识形态与欧洲政治","authors":"V. Yermolenko","doi":"10.15407/fd2021.02.049","DOIUrl":null,"url":null,"abstract":"The article is focused on Lesia Ukrainka’s famous drama The Stone Master (Kaminnyi Hospodar), her remake of the Don Juan legend. The author of the article, Ukrainian philosopher Volodymyr Yermolenko, localizes Lesia’s masterpiece in a broader European tradition of the legend. He compares The Stone Master with the previous version of the Don Juan legend, by Tirso de Molina (The Trickster of Seville), Moli re (Dom Juan), Mozart (Don Giovanni), Hoffmann (Don Juan), Grabbe (Faust and Don Juan) and others. He analyzes Lesia’s originality within this tradition. He also reads The Stone Master in the context of the dialogue between different epochs: the Baroque, Classicism, Rococo / Enlightenment, Romanticism, Post-Romanticism. Each of the epochs develops its specific version of Don Juan legend, according to Yermolenko, which reflects a specific concept of human being and human relations developed at each particular period. While the “Baroque” Don Juan of Tirso de Molina marks the crisis of the culture of honor, the “Classicist” Don Juan of Moli re shows the development of a culture of knowledge and general concepts, and the “Romantic” Don Juan of Byron and Hoffmann is a symptorm of a new 19th century culture of will and transformation. In this respect, it is important to look at Lesia Ukrainka’s text as a battleground of “Romantic” will to freedom and “Post-Romantic” (or fin de siècle) will to power. In this context, Yermolenko reads The Stone Master (written in 1912) as a criticism of the fashionable topic of “will to power”, and as a political warning, with Lesia Ukrainka showing the upcoming horrors of the 20th century’s authoritarianism and totalitarianism. With the help of the concept of eropolitics, the author shows how, through the erotic topic, Lesia Ukrainka passed a major political message to her epoch — and ours as well.","PeriodicalId":315902,"journal":{"name":"Filosofska dumka (Philosophical Thought)","volume":"1 1","pages":"0"},"PeriodicalIF":0.0000,"publicationDate":"2021-06-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"1","resultStr":"{\"title\":\"Lesia Ukrainka, Don Juan and Europe: ideology and eropolitics in the Stone Master\",\"authors\":\"V. Yermolenko\",\"doi\":\"10.15407/fd2021.02.049\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"The article is focused on Lesia Ukrainka’s famous drama The Stone Master (Kaminnyi Hospodar), her remake of the Don Juan legend. The author of the article, Ukrainian philosopher Volodymyr Yermolenko, localizes Lesia’s masterpiece in a broader European tradition of the legend. He compares The Stone Master with the previous version of the Don Juan legend, by Tirso de Molina (The Trickster of Seville), Moli re (Dom Juan), Mozart (Don Giovanni), Hoffmann (Don Juan), Grabbe (Faust and Don Juan) and others. He analyzes Lesia’s originality within this tradition. He also reads The Stone Master in the context of the dialogue between different epochs: the Baroque, Classicism, Rococo / Enlightenment, Romanticism, Post-Romanticism. Each of the epochs develops its specific version of Don Juan legend, according to Yermolenko, which reflects a specific concept of human being and human relations developed at each particular period. While the “Baroque” Don Juan of Tirso de Molina marks the crisis of the culture of honor, the “Classicist” Don Juan of Moli re shows the development of a culture of knowledge and general concepts, and the “Romantic” Don Juan of Byron and Hoffmann is a symptorm of a new 19th century culture of will and transformation. 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引用次数: 1
摘要
这篇文章的重点是Lesia Ukrainka的著名戏剧《石头大师》(kaminyi Hospodar),这是她对唐璜传奇的翻拍。这篇文章的作者,乌克兰哲学家Volodymyr Yermolenko,将莱西亚的杰作定位在更广泛的欧洲传说传统中。他将《石头大师》与之前的《唐璜传奇》进行了比较,之前的《唐璜传奇》由蒂尔索·德·莫利纳(《塞维利亚的骗子》)、莫利雷(《唐璜》)、莫扎特(《唐璜》)、霍夫曼(《唐璜》)、格Grabbe(《浮士德和唐璜》)等人创作。他分析了莱西娅在这一传统中的独创性。他还在不同时代的对话背景下阅读《石头大师》:巴洛克、古典主义、洛可可/启蒙、浪漫主义、后浪漫主义。根据叶尔莫连科的说法,每个时代都有其特定版本的唐璜传说,这反映了每个特定时期发展起来的特定的人类和人际关系概念。蒂尔索·德·莫利纳的“巴洛克式”唐璜标志着荣誉文化的危机,而莫利的“古典主义”唐璜则显示了知识文化和一般观念的发展,而拜伦和霍夫曼的“浪漫主义”唐璜则是19世纪意志和变革的新文化的征兆。在这方面,重要的是要把Lesia Ukrainka的文本看作是“浪漫主义”的自由意志和“后浪漫主义”(或fin de si cle)的权力意志的战场。在这种背景下,叶尔莫连科将《石头大师》(写于1912年)视为对“权力意志”这一时髦话题的批评,同时也是一种政治警告,《乌克兰之光》展示了20世纪威权主义和极权主义即将到来的恐怖。在欧洲政治概念的帮助下,作者展示了莱西娅·乌克兰卡如何通过色情话题向她的时代——以及我们的时代——传递了一个重要的政治信息。
Lesia Ukrainka, Don Juan and Europe: ideology and eropolitics in the Stone Master
The article is focused on Lesia Ukrainka’s famous drama The Stone Master (Kaminnyi Hospodar), her remake of the Don Juan legend. The author of the article, Ukrainian philosopher Volodymyr Yermolenko, localizes Lesia’s masterpiece in a broader European tradition of the legend. He compares The Stone Master with the previous version of the Don Juan legend, by Tirso de Molina (The Trickster of Seville), Moli re (Dom Juan), Mozart (Don Giovanni), Hoffmann (Don Juan), Grabbe (Faust and Don Juan) and others. He analyzes Lesia’s originality within this tradition. He also reads The Stone Master in the context of the dialogue between different epochs: the Baroque, Classicism, Rococo / Enlightenment, Romanticism, Post-Romanticism. Each of the epochs develops its specific version of Don Juan legend, according to Yermolenko, which reflects a specific concept of human being and human relations developed at each particular period. While the “Baroque” Don Juan of Tirso de Molina marks the crisis of the culture of honor, the “Classicist” Don Juan of Moli re shows the development of a culture of knowledge and general concepts, and the “Romantic” Don Juan of Byron and Hoffmann is a symptorm of a new 19th century culture of will and transformation. In this respect, it is important to look at Lesia Ukrainka’s text as a battleground of “Romantic” will to freedom and “Post-Romantic” (or fin de siècle) will to power. In this context, Yermolenko reads The Stone Master (written in 1912) as a criticism of the fashionable topic of “will to power”, and as a political warning, with Lesia Ukrainka showing the upcoming horrors of the 20th century’s authoritarianism and totalitarianism. With the help of the concept of eropolitics, the author shows how, through the erotic topic, Lesia Ukrainka passed a major political message to her epoch — and ours as well.