에우리피데스의 『트로이의 여인들』에 나타난 미학과 정치학

Aesthetics and Politics in Euripides’ the Trojan Women

This study searches for the origin of sociogenesis of today’s rising discourses from Greek Tragedy in order to ruminate the violence of today’s imperial ambitions. As Greek Tragedy represents the social backgrounds of the days, the politics of demos is realized in aesthetic virtual realms. The evolution process from Primary Epic and Choral Lyric Poetry to Tragic Drama is based on the social backgrounds of the ancient Greeks. As the political system was changed to democracy due to the rise of demos, Tragedy represented the social imaginary for the first time. Aesthetics and politics of Tragedy made possible by these social phenomena led the audience of Dionysos Theatre to reflexive thinking and political participation, which contributed to the foundation of discourses in Agora. Euripides participated in politics not by going in to public service but by writing tragedies. Homeric Trojan myths and Thucydides’ The History of the Peloponnesian War are the textual origin of The Trojan Women, which is a sort of political allegory telling the history of BC 5 by the Trojan myths of BC 8. Crossing over between present and past, and between myths and history, Euripides poses political problems of his times. Making Cassandra become persuasive by foretelling the tragedies of the Archaean warriors, Euripides warns the imperial ambitions transcending the ages. He, furthermore, gets the naudible, the invisible, and the unsayable in the primary epics to be the audible, the visible, and the sayable such as Cassandra in The Trojan Women by ecreating the myths. In this way, aesthetic and politics are interwoven in Euripides’ tragedy.