英文摘要 |
As the first writer to explore the meaning of eroticism, George Bataille delves into an intricate relationship between eroticism and sacredness. Detailing sacred eroticism as an inner aspect of the human being, Bataille connects it to a basic model for discussing a rupture of desire bordering on transgression and death. Sally Potter’s The Tango Lesson presents the erotic desire which is so close to the path of destruction and betrayal turning sensual pleasure into one of ruin and degradation associated with unfettered freedom to admit the value of otherness. As an intimate partner dancing form, Argentine tango has woven body and soul into one holy entity that reflects dancers’ erotic desire. Strikingly similar to Bataille’s sacredness of eroticism, Potter’s film brings out a serial connection between self and otherness which constitutes three basic frames of the study: “I ain’t thou”; “I and thou”; “I am thou.” Three imperative issues are to be addressed: 1) the potential transgression of divided time-zones between the “profane time” and “sacred time” interweaves an intricate relationship between the major tango film and the film-within-a-film Rage ; 2) the lead-follow dynamic in Argentine tango is explored in the settings of gender politics, gaze strategy, and sacred eroticism; 3) three rituals of sacrifice, namely the death of models, Paris tango performance, and the painting of Jacob Wrestling with the Angle are related to the discussing topic of sacredness. Potter and Bataille are erotic on various levels; by contrasting and comparing these levels, the readers more easily understand the truth of sacred eroticism. |