Abstract:

The importance of the eye (visual metaphors, seeing and being seen) and more specifically the gaze in Jean Racine's theatrical corpus is well established (Barthes, Mauron, Starobinski), but under-analyzed in the construction and disintegration of Emperor Titus' identity in Bérénice. This article contests the critical tradition that interprets Racine's Bérénice as a tragedy of the lovers' painful parting and the contention that Titus makes a conscious decision to rule without his lover. Instead, it locates the tragedy in Titus' crisis of identity, a consequence of the conflict between his libidinal gaze and the paternal gaze of Roman Law and posits Titus as a character who attempts to reconcile incongruent, conflicting images of his own identity. Therefore, I argue, Titus becomes a figure for the double revealed in three configurations: lover/ruler, child/Father, and victim/executioner. Titus experiences these disparate selves as incompatible and hence suffers anagnorisis (leading to self-immolation) thus fulfilling Freud's three characteristics of modern drama.

摘要：

眼睛的重要性（视觉上的隐喻，看见和被看见），尤其是让·拉辛的戏剧语料库中的凝视的重要性（巴特斯，莫隆，斯塔罗宾斯基）已得到充分确立，但在提图斯皇帝身份的建构和瓦解中并未得到充分的分析。贝伦尼斯（Bérénice）。本文对解释拉辛的《贝伦尼斯》的批判传统提出质疑这是恋人痛苦离别的悲剧，也是提图斯有意识地决定在没有恋人的情况下进行统治的论点。相反，它把悲剧定位于提图斯的身份危机中，这是他的主观​​凝视与罗马法律的父辈凝视之间冲突的结果，并认为提图斯是一个试图调和自己身份不一致，矛盾的形象的角色。因此，我认为，泰特斯成为双重身份的象征，体现在三个方面：爱人/统治者，孩子/父亲和受害者/ exe子手。泰特斯经历了这些完全不同的自我，因为他们互不相容，因此经历了不可知性（导致自焚），从而实现了弗洛伊德的现代戏剧的三个特征。