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THREE DIFFERENT JOCASTAS BY RACINE, COCTEAU AND CIXOUS
Title
THREE DIFFERENT JOCASTAS BY RACINE, COCTEAU AND CIXOUS.
Creator
Joo, Kyung, Listengarten, Julia, University of Central Florida
Abstract / Description
This study is about three French plays in which Jocasta, the mother and wife of Oedipus, is shared as a main character: La Thébaïde (The Theban Brothers) by Jean Racine, La Machine Infernale (The Infernal Machine) by Jean Cocteau, and Le Nom dÂÂ'Oedipe (The Name of Oedipus) by Hélène Cixous. Jocasta has always been overshadowed by the tragic destiny of Oedipus since...
Show moreThis study is about three French plays in which Jocasta, the mother and wife of Oedipus, is shared as a main character: La Thébaïde (The Theban Brothers) by Jean Racine, La Machine Infernale (The Infernal Machine) by Jean Cocteau, and Le Nom dÂÂ'Oedipe (The Name of Oedipus) by Hélène Cixous. Jocasta has always been overshadowed by the tragic destiny of Oedipus since the onset of SophoclesÂÂ' works. Although these three plays commonly focus on describing the character of Jocasta, there are some remarkable differences among them in terms of theme, style, and stage directions. In The Theban Brothers, RacineÂÂ's 17th century play, Jocasta is described as a deathlike mother, while CocteauÂÂ's Jocasta, in The Infernal Machine, is portrayed as an ÂÂ"extravagant, liberal, and hilariousÂÂ" lady. In The Name of Oedipus, Cixous portrays Jocasta as a woman possessing hermaphroditic characteristics, ushering in a new era of resistance to the age-old paternal hierarchy. As for style, RacineÂÂ's neoclassical play shows a strict respect for the three unities of time, space, and action. CocteauÂÂ's avant-garde play neglects all these rules, while Cixous goes even further by destroying the order of languages, as illustrated by her ÂÂ"feminine writing.ÂÂ" Freed from Western orthodoxy, Cixous wants to contribute to the creation of cosmic unity. Her deconstructionist play intends to regenerate the world by establishing a new order and new point of view towards universality. The stage directions of these plays are also an important key to better understanding theatrical evolution. It is through the stage directions, indicated both implicitly and explicitly in these three plays, that enables us to appreciate the theatrical transformation in terms of visualization as well as metaphysics. In sum, the transformation of theme, style, and stage devices in portraying their own Jocastas demonstrates that while these three plays are deconstructional to one another, each denying the existing value and orders of their respective time periods, they are also constructional in that they all attempt to open a new horizon of theatre.
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Date Issued
2010
Identifier
CFE0003540, ucf:48945
Format
Document (PDF)
PURL
http://purl.flvc.org/ucf/fd/CFE0003540
DESTABILIZING IDENTITY: THE WORKS OF DOROTHY CROSS
Title
DESTABILIZING IDENTITY: THE WORKS OF DOROTHY CROSS.
Creator
Dowling, Aileen, Mendoza, Ilenia Col�n, University of Central Florida
Abstract / Description
This thesis aims to analyze Dorothy Cross's sculptural, installation, and video works in relation to Ireland's Post-Conflict struggle with its cultural and global identity. Throughout the course of history, Ireland's identity has always been in question, sparking new interest over the last thirty years in producing an Irish identity discerned by "hybridity, multiplicity, and mobility."[1] Declan McGonagle states that the traditional Irish constructs of gender and sexuality were primarily...
Show moreThis thesis aims to analyze Dorothy Cross's sculptural, installation, and video works in relation to Ireland's Post-Conflict struggle with its cultural and global identity. Throughout the course of history, Ireland's identity has always been in question, sparking new interest over the last thirty years in producing an Irish identity discerned by "hybridity, multiplicity, and mobility."[1] Declan McGonagle states that the traditional Irish constructs of gender and sexuality were primarily challenged by Dorothy Cross during this period of rapid sociopolitical change.[2] Cross consistently deconstructs pre-Christian Mother Ireland and patriarchal Catholic Ireland in her early sculptural works, and ultimately transitions towards communicating a collective identity rooted in loss and desire. [3] The constructions of gendered, cultural, and collective identity are dismantled across multiple media throughout Cross's oeuvre, which can be analyzed through a synthesis of poststructuralist, postmodern, and French feminist theory. In evaluating Dorothy Cross's destabilization of identity, I will expand the literature on contemporary Irish art during the nation's turbulent time of globalization, which has been underemphasized in the study of contemporary European art.
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Date Issued
2016
Identifier
CFH2000126, ucf:46012
Format
Document (PDF)
PURL
http://purl.flvc.org/ucf/fd/CFH2000126