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영성의 증발: 짐 크레이스(Jim Crace)의 『사후』(Being Dead)에 드러난 물질론적/종교적 자연주의 의식관
황훈성 한국영어영문학회 2023 영어 영문학 Vol.69 No.4
This article seeks to explore an Epicurean or Post-Darwinian understanding of the phenomenon of death conceived in Being Dead. Jim Crace, arguably as a disciple of physicalism vigorously preached by Dennett or Dawkins defines death as termination of physical activities of human consciousness which is entirely composed of matter. Being Dead is a fictional representation of Crace’s investigation of the phenomenon of death. My contention is that despite the author’s hard line physicalism, this novel leaves a room for interpreting death in terms of religious naturalism especially applicable to the two protagonists Joseph and Celice. The novelist’s physicalist stance is vividly demonstrated in the description of the two bodies at the brink of life and death; the narrator resorts to scientific jargons covering physics, chemistry, microbiology and calculus where there is no room for the Soul or Spirituality. In accordance with physicalist doctrines, there does not exist a qualitatively significant difference between homo sapiens and ordinary worms in that both are necessary outcomes of biological evolution. The transformation of the narrator from physicalist to religious naturalist may be theoretically supported by Dworkin, who has endeavored to shift the centerpiece of the controversy from objective truth to cultural values and ethics. Different from Dawkins or Dennett, he cherishes humanist values such as 1) independent and existentialist life, 2) viewing nature as sublime reality as well as objective reality. To sum up, Crace’s Being Dead is a masterpiece that launches a quest for a new religious belief system that may fulfill human wishes to live a fuller life on earth.
Theatereality: Beckett's Strategy of Late Dramaticules
황훈성 한국현대영미드라마학회 2011 현대영미드라마 Vol.24 No.2
This paper is a semiotic investigation into the textual phenomenon of “theatereality.” I will discuss two late masterpieces: Play and Not I, where the echoing relationship between the stage fiction and the stage fact prevails. This echoing phenomenon is so dominant that critics can hardly deal with Beckett’s late plays without mentioning it. since it functions as a paradigmatic tool for Beckett’s late dramaturgy. Theatereality refers to a near convergence between the stage fiction and the stage fact; semiotically translated, it parallels “a technique of problematizing the relationship between verbal sign (parole) and visual signs (mimique, geste, mouvement, maquillage, coiffure, costume, accessoire, décor, éclairage)”. In other words, Beckett’s late plays present a playful mirror-game between the protagonist’s fiction and the stage scene; e.g., a playful relationship between the parole/éclairage in Play; a playful mirroring between the parole/ mimique, geste, and mouvement in Not I, Footfalls, and Ohio Impromptu; and a mirroring between the parole/ geste, mouvement, costume; and décor in A Piece of Monologue and Rockaby. In Play, theatereality is interwoven with the topos of theatrum mundi, the light-interrrogator creates a “theatereal” moment, in which the three players are simultaneously real and theatrical. The audience is thus alerted to the similarity between the theatrical condition of the three players and the real condition of its own life, i. e., a limbo-like situation where absolute loneliness and eternal suffering are real. Instead of theatrum mundi topos, theatereality is highlighted in Not I. If theatereality is conceived as the moment when the narrator’s verbal fiction echoes his/her condition of narration on stage, there are five “theatereal moments” in this play. The powerful image of the mouth produces multiple layers of meaning: literal, metaphoric, and symbolic. The latter two levels of signification extend this play in depth. Metaphorically, Mouth’s logorrhea, discharged form a human orifice, stands for the indigestible nature of the heroine’s life. Symbolically, Mouth is no less than an archetypal icon of the threshold between darkness (chaos)/ light (logos), offstage/ stage, thereby laying bare the process of theatrical represenation. In short, theatereality is a methodological awakening: although the audience does not succeed in identifying the referent, they are awakened to their own habitual (thus naturalized) way of receiving a theatrical performance. Semiotically speaking, they are provided with valuable insights about how theatrical communication and signification occur in the course of theatrical reception.
As You Like It에 나타난 Fool 플롯 연구
黃焄性 서울大學校 人文學硏究所 1984 人文論叢 Vol.12 No.-
To the Renaissance audience, the prevailing attitude on love and nature in pastoral was an ambivalent one. It would have presumably required an uncommon courage and foresight to perceive this problematic relationship. Moreover it would have been more than a creative job for a playwright to develop a new technique of dramatizing it. Shakespeare seems to have fulfilled this requirement. By developing Vice into Fool, Shakespeare established the Fool convention more firmly than any other contemporary writer did. The significance of the Fool convention is to be fully understood in terms of the Fool's role to place every characters in his/her own background. The fact is that contemporary minor writers presented a puppet shepherd and shepherdess estranged from his/her natural background or idealized on a pure intellectual level. While Shakespeare took a concise measurement of every psychological distances of the characters in experiencing nature and succeeded in constructing vivid characters. Touchstone and Jaques, unseen in Lodge's Rosalynde, play typical fools. Especially Touchstone shoots his bolts behind a stalking-horse hiding his character, which is traced back to the character of Vice as an ambidexter. He transforms himself so brilliantly, depending on the opposite speaker, that one is simply fascinated. But his transformation in AYL contributes to revealing the Weltanschauung of other characters so critically that each is individualized and organically merged into his own background. In conclusion, the Fool convention made it possible for Shakespeare to achieve three goals : the synthesization of various views of the Elizabethan age, the divulgence of the problematicity of pastoral view on nature and love, and the characterization in depth.