| Summary: | 碩士 === 國立中興大學 === 外國語文學系 === 89 === Abstract
In 1938, Brecht completed Life of Galileo, a historical play describing Gali-leo’s twists and turns, glory and changes in his whole life with the heliocentric theory proposed, recognized, and abolished, and rewrote the play in 1945 and 1955. The play concentrates not only on the single man, Galileo, but also on the coexistence and the interrelationship of those issues proposed in his dialec-tical theater concerning individuals and the society. Accordingly, the intention to emphasize any specific topic of the play must be a certain distortion - - no matter it is about the individual or the totality. Therefore, this thesis will proceed from the most obvious debate between religion and science, the potential exclusive-ness of a single viewpoint or narrative, to the inevitability of the permanent re-placement among perspectives, which are hidden under the main topic. Be-sides, I will explicate the reason why Brecht deliberately arranges the other op-posite viewpoint under many issues. By their contradictions and conflicts, Brecht prevents those perspectives from being entirely extracted into the totality. Except for the presentation of multiple perspectives in its content, Brecht stops and suspends observers’ empathy by inserting into its form “constant interrup-tions or interventions,” techniques of the dialectical theater. Through this kind of distracted observation, observers are expected to form criticism by themselves with a reference to past events and present issues.
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