The Henriad의 폴스태프와 모성의 귀환

고석기 釜山大學校 人文學硏究所 1999 人文論叢 Vol.53 No.1

Abstract This study investigates persistent repetitions of psychoanalytic and dramatic narratives repetitions that demonstrate their cohabitation within a dominant structure of gender. The Henriad and psychuanalysis are parallel narratives, similarly positioning ma1e subjectivity and the female reproductive body, staging a conflict between "pattarnal authority and maternal priority." In a recusive reading of drama through psychoanalysis, and psychoanalysis through drama, The present study puts forward that Shakespearean drama and psychoanalytic theory share in a cultural estimation of the female reproductive body as a Bakhtinian "grotesque body," and that they repress this figure in their narratives of psychic development, despite significant differences in family and social structure between late-sixteenth-century England and twentieth-century Vienna and Paris, The relationship of feminist critics to Shakespeare's history plays has until recently been uneasy with each other, if not hostile. For many feminists, the lack of powerful female characters in the history plays forecloses the critical questions they bring to Shakespearean drama. "Women don't figure" seems to sum up the stance of many critics who trun their analyses of gender and power to the greater presence of women, and themes of chastity, courtship, marriage, and adultery in the comedies, tragedies, and romances. The paper clarified that The Henriad is a "seminal" point for an examination of the construction and maintenance of phallocentric ideology, particularly in regard to male subjectivity and sexuality. Although the histories depend on a resolutely hierarchical representation of gender difference, they do not merly exclude women; they stage the elimination of women from the historical process (an exclusion that is the historical process), thus exhibiting the kinds of repressions a phallocentric culture requires to maintain and reproduce itself. By means of this staged repudiation, The Henriad embodies a marginal, subversive discourse, if only to demonstrate the fantasized expulsion of that discourse. This expulsion, however, is neither final nor total; we thus see in The Henriad not only the 'rehearsal' of power stressed by new historical critics, but also the possibility of the deconstruction of dominant sixteenth-century ideologies of gender, sexuality, and power. In short, male dominated as it is, The Henrial contains within itself the means for its own meta-critique.

The Comedy of Errors : Double Plot and Identity 이중 구조와 Identity

고석기 釜山大學校 1995 人文論叢 Vol.47 No.1

It is important to recognize that, from the beginning of his career, Shakespeare was an artist of extraordinary ability, and that all his work deserves serious attention. The exploration of levels of action or meaning in early history plays and tragedies does not clash with common assumptions about the kind of play each is, history or tragedy, or conflict with common expectations about the kind of experience they afford. But any developed account of The Comedy of Errors is likely to seem portentous in relation to the complexities of Shakespreare's mature remedies, and especially extravagant in relation to the usual classification of the play as an early farce. A different view has been taken in recent years. What has been recognized is that in spite of the implausibility and fantastic coincidences of Egeon's tale of the shipwreck, we are directly affected by his wretchedness, his dramatic presence on stage as a lonely, pathetic figure. What have sometimes been regarded as separate elements, tragic envelope and central comic action, unite harmoniously in the final effect. Many critics today would not label the play a farce and dismiss it as deserving no more serious analysis. Clearly the comic pattern involving mistaken identity appeals to us because it leads us from confusion about identity to security. Security and happiness would be sought not in sexual intercourse but in reunion with or creation of a person like the person the Protagonist would like to become, i.e., his alter ego, or more correctly, his ideal ego. The comedy of Errors has been proved a thematically harmonious play, but its imaginative direction still appears disjunctive to critics. There has been no successful attempt to uncover a method to the confusion of the twins' 'identities in the main plot or a reason for its envelopment by a frame plot concerning their father's woes. The play, then, is not simply about the payment of debts or the physical division and reunion of a family, but about the Psychic division and integration of a personality, e reintegration of a long-denied part of one-self through psychological payment as well.

셰익스피어극의 여성주의 정신분석비평 연구

고석기 釜山大學校 1996 人文論叢 Vol.48 No.1

AbstractSince the mid-1970s interest in psychoanalytic theory has grown among feminists. Many have recognised that they share with psychoanalysis a common concern with gender identity, sexuality, the body, the family, power and the possibility of change. All of these are perceived to have a direct bearing on the position of women. When the distinction between our biological sex and our gender is widely acknowledged, most people recognise the role played by socialisation and culture in the construction of the unequal categories of 'masculinity' and 'femininity'. However, many feminists have become clear that socialisation theory, which deals only with conscious processes, cannot alone provide an adequate explanation of how these destructive categories come into being. Psychoanalytic theory offers another approach. By exploring how culturally approved definitions of 'masculinity' and 'femininity', and those which lie outside them, are unconsciously lived as identities by men and women, it dramatically extends the scope of analysis of women's subordination in culture.In Shakespeare's Antony and Cleopatra, as in the antifeminist and antitheatrical narratives, the figures of the alluring, histrionic temptress and the effeminized male repeatedly emerge as the focus of concern about changing gender boundaries in Renaissance England. The tract writers' preoccupation with preserving "true" masculinity is, in effect, an attempt to naturalize the orthodox doctrine of a static social and sexual order. In Shakespeare's play, however, this ideology of order-with its clear standards of otherness and exclusion-is revealed as a contingent fiction open to revision. Human identity, as Cleopatra and Antony dramatize it, is multiple, varied, and protean, and the playwright affords her many occasions to exult in her playful disruptions of the Roman gender polarities. Thus both dramatic text and public debates, when read in relationship to each other, present a complex picture of Renaissance society caught between the pressures of mobility and a desire for stasis. Or more specifically, they bring to light the cultural dilemma of choosing between God-given identities and new, socially constructed ones.

셰익스피어극에 나타난 몸과 몸 이미지 : 『트로일러스와 크레시다』, 『햄릿』, 『맥베스』를 중심으로

고석기 새한영어영문학회 2001 새한영어영문학 Vol.43 No.1

Parts of the body are scattered throughout the literary and cultural texts of early modern Europe.The proliferation of social and symbolic practices of piecing out the body in the early modern period has generated a significant body of recent criticism about the logic of fragmentation.The fragmentation may be punitive dismemberment, pictorial isolation, poetic emblazoning satirical biting, scientific categorizing, or medical anatomizing.But the body in parts is not always the body in pieces.Recent studies examine the ways in which social and psychic conditions of fragmentation were encoded in practices of bodily partitioning, they also examine the body that is constituted by a multiplicity of individuated organs.The extent to which aspects of culture were imagined to reside in, on, and about individual parts of the body in some of Shakespeare's plays is the subject of this essay. Shakespeare's plays are filled with references to human entrails.While there are of course several plays in which the body's entrails and internal organs are barely mentioned, there are also in his plays quite a few works that are preoccupied with an imagination of the visceral interior of the human Troilus and Cressida and Hamlet can be examined to understand Shakespeare's view of corporeal inwardness. The dismemberment enacted and represented in Macbeth kills, but it also seems to allow for a resistance to the sort of moral and political closure that appears too easily to distinguish the good and the evil of the play.The witches open Macbeth to a break with his own moral values and eventually to a form of political rebellion.The play itself punishes that rebellion by branding Macbeth as evil, but it also enacts his fantasy of dismemberment, providing a more covert textual affirmation of this very destructive power.

Harold Pinter의 不條理劇 世界 : The Birthday Party를 중심으로 Centering around The Birthday Party

고석기 慶尙大學校 1979 論文集 Vol.18 No.2

That Pinter has added a new band of colours to the spectrum of English stage dialogue is attested by the frequent use of terms like "Pinteresque language" or "Pinterese" in current dramatic criticism. Through the ability to project symbols about human life onto tile stage in powerful and intriguing terms Pinter has become, in hardly more than a decade, the most admited playwright to appear in the English-speaking theatre since Samuel Beckett. For instance, the room becomes for Pinter a way of blocking out the diffuse claims of the external world and concentrating on the central facts of existence as he conceives of them. The invasion of a room, then, is the central action in each of Pinter's major plays. But the room is less important as an architectural feature than as a means of delineating a state of mind. In this treatise the present Writer tries to investigate the background of the Absurd drama in general and then to analyze Pinter's important play The Birthday Party. At the sametime the present writer attempted here to bring light on the themes of "language and communication" and "language and silence".

셰익스피어의 희극에 나타난 통과의식

고석기 동아대학교 인문과학대학 영어영문학과 1989 동아영어영문학 Vol.5 No.-

종교로의 회귀’ 담론을 통한 셰익스피어극의 영적, 문화유물론적 접근

고석기 새한영어영문학회/새한영어영문학회 2011 새한영어영문학 Vol.53 No.2

셰익스피어극에 나타난 여성의 성과 남성의 불안 : Hamlet과 The Winter's Tale Hamlet and The Winter's Tale

고석기 釜山大學校 1997 人文論叢 Vol.50 No.1

In recent years many critics have exposed the existence and analysed the possible meanings of a masculine anxiety toward female power in Shakespeare's plays. Through close attention to language, metaphor and symbol, these critics not only persuasively demonstrate that masculine anxieties towards female power are, indeed, expressed in the plays, they also analyse the psychosexual and political dynamics within male-female relationships that produce such fears. In general, these analyses attempt to negotiate between the historical fact of women's oppression and the psychological power accredited to women by men. Asserting that a certain mobility and mutability of power characterize gender relationships both within the plays and in Elizabethan social life, they view women neither as wholly victims of patriarchal relations nor as the cause of male sexual anxieties. Political and social constraints are imposed, at least in part, because men credit women with enormous emotional power; this, however, in no way denies the material oppression of Renaissance women. It is commonly believed that Shakespeare was preoccupied with the uncontrollability of women's sexuality. Many plots concerning the need to prove female chastity, the threat of adultery and the many references to cuckoldry in songs and jokes in his plays stem from men's anxiety, their shared sense of vulnerability because they have only a woman's word for the paternity of their children. It is also emphasized that through cuckold jokes, the male prerogative of power in language is restored; through the vilification of women upon which cuckold jokes depend, feminine presence is reduced to silence and absence. In this essay, it will be argued that in certain play such as Hamlet and The Winter's Tale male anxiety towards female erotic power is channelled into a strategy of containment and that through this strategy the threat of female erotic power is psychically contained by means of a metaphoric and dramatic transformation of women into corpses and statues.

여성의 부재와 여성성의 전복성 : Representation of Women in Antony and Cleopatra Antony and Cleopatra에 나타난 여성의 재현

고석기 釜山大學校 人文學硏究所 1998 人文論叢 Vol.52 No.1

In this paper I want to focus on Cleopatra as a metaphor for what is seductive and subversive of Shakespeare's genius and pursue the comparison to consider in larger terms what kind of subversion Cleopatra represents. This analogy linking Cleopatra with a subversive feature of Shakespearean language is reminiscent of the work of certain French feminists such as Helene Cixous and Luce Irigaray who have sought to locate the feminine in the operations of language. It may strike us as peculiar, though not accidental, that Cleopatra often appears, in theoretical discussions bearing on the subversive potential of language, as a figure for what destabilized hierarchy and undermines system. Feminist criticism addresses itself to the impasse presented by a cultural order founded on the suppression, indeed the repression, of feminine difference. The search for a feminine voice, for reflections of a female identity or experience in literature, has repeatedly founded on the repressions operating within representation itself, that is, on the conventions which always reclaim and subordinate what is gendered "feminine" within the terms of a system governed by the masculine norm. To psychologize Shakespeare's heroines, to celebrate the nobility of their "feminine" qualities, to identify with them as women, as some feminist critics of Shakespeare have tended to do, is not address the issue of gender at the level of representation. As an alternative to the identificatory model of feminist criticism, we might argue that Shakespeare's plays appear to be at once deeply invested in the conventions of their culture, and at the same time keenly sensitive to them as conventions. Perhaps the plays go farthest toward challenging the underpinnings of patriarchy and its representations when they draw our attention to the conventionality of their cultural discourse, of gender, of representation itself.

Pericles에 나타난 모성의 힘

고석기 신한영미어문학회 1995 새한영어영문학 Vol.33 No.-

The generative maternal power celebrated in Cleopatra's recreation of Antony is severely mutilated in the following tragedies, where maternal presence is once again construed as paternal absence, where mothers are once again fatal to their sons. This pattern is repeating that of Hamlet, where the mother's sexual body is itself poisonous to the father on whom the son would base his subjectivity. Taken together, the romances can be understood as Shakespeare's final attempt to repair the damage of this pattern, in effect to reinstate the ideal parental couple lost at the beginning of Hamlet. In Pericles the hero loses an idealized paternal presence and is cast from his moorings by his confrontation with the sexualized female body like the Hamlet who sees in his mother's body the dissolution of the father on whom he would found his own identity; and he can return to himself only after that body has been thoroughly desexualized. Whatevea the overt sympathy extended to Thaisa in childbirth, the play proceeds to treat her as though her maternity had made her taboo or tainted, allowing her to return only after a long period of penitential cleansing. And her cleansing is managed by the idealized father recreated in Cerimon, the father whose benevolent control over nature and the female body enables the play's resolution.