Akademik Veri Yönetim Sistemi
2nd UTAD Conference "Existence, Tradition and Future", İstanbul, Türkiye, 5 - 07 Eylül 2024, (Özet Bildiri)
The British Romantic poet P. B. Shelley traverses space and time, revisits Aeschylus’s Prometheus Lyomenos, orUnbound, subverts the ancient Greek play and constructs his own play Prometheus Unbound (1820). In Aeschylus’s tragic play, Prometheus is reconciled with Jupiter. However, Shelley is averse to this reconciliation between the champion and the oppressor of humanity. Therefore, the Romantic poet undermines the symbolic and paternal authority of Jupiter, and explores the relationship between Prometheus and Earth, mother and son bound together. Thus, Shelley turns Aeschylus’s play upside down by overthrowing the patriarchal rule of Jupiter and realigning the son with the mother. The son does not identify with the paternal, does not submit to the paternal law, but relapses into the maternal realm of Mother Earth. Hence, the Romantic playwright allows the archaic maternal chora to be unbound, unleashed in his lyrical drama. In this transgressive re-imagination of the myth, the maternal semiotic re-emerges and ruptures the paternal symbolic. The irruption of the semiotic in the symbolic leads to the manifestation of the instinctual maternal chora through poetic language that unsettles the symbolic, dismantles signifiers, transgresses representation, and destabilises meaning and identity. Prometheus is unbound, the symbolic language is undone; boundaries are annihilated in this realm of boundlessness, symbolic identities based on the perpetuation of boundaries unravel. Jouissance and abjection simultaneously mark the mother-son dyad in this asymbolic realm characterised by the dissolution of boundaries and indistinct profusion. This paper intends to explore the relationship between Earth and Prometheus and to analyse the obliteration of boundaries in the semiotic realm by means of deploying Kristevan concepts such as semiotic chora and abjection.