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김기애 ( Kim Ki-ae ) 대한영어영문학회 2009 영어영문학연구 Vol.35 No.4
Tiny Alice is an intriguing play and Albee explains it in various terms including a metaphysical dream play, a morality play, and a mystery play and a double mystery. Using these terms, Albee focuses on the explanation of Julian’s confusion, a lay brother, who has difficulties distinguishing his knowledge of God from what people create as God, as well as reality from illusion. Julian goes through bizarre experiences comparable to those of Alice in Alice in Wonderland, only with religious connotations. He marries Miss Alice, who informs him that she is only a surrogate of Alice, who exists in a doll’s-house model on the stage. As the content of the play is mysterious and mind-boggling, Albee attempts to experiment with the form using props, which have multiple symbolic meaning such as a doll’s-house model, a phrenological head, and cardinals in a birdcage. Besides, Albee applies the double meaning to the dramatic structure, the role-playing of characters, and parody. These dramatic techniques reinforce the theme of reality and illusion, which Albee believes to reflect the relationship between the world and another small world called theatre. (Kyungnam University)
테네시 윌리엄즈의 개작(改作) 스타일: 『천사들의 싸움』과 『오르페우스의 하강』, 『여름과 연기』와 『나이팅게일의 기행』
김기애 ( Kim¸ Ki-ae ) 현대영미어문학회 1996 현대영미어문학 Vol.14 No.-
Williams revised Battle of Angels(1940) and Summer and Smoke(1948) and entitled them Orpheus Descendingi(1957) and The Eccentricities of a Nightingale(1951) respectively. In these two revised plays can be found some common characteristics of Williams’ dramaturgy and style. The purpose of this paper is to examine and compare those characteristics. Williams was mostly concerned about the plot, the characterization, and the use of symbols and theatrical devices in revising the plays. In his early works, the plot does not have organic unity and is episodic. This drawback is corrected in the revised plays where unrelated incidents are either deleted or modified. Thus the plot of the revised plays are fightly constructed. The characters in his early plays are either underdeveloped or not well tied in the plot. However, in the revised plays, they are fully developed and the relationships between them are set in such a way that the relationship can cause the inevitability of some incidents. Besides, in his early plays, Williams uses lots of symbols and theatrical devices at emotional peaks, whereas he applied more constraints on the use of them in the revised plays.
김기애 ( Ki-ae Kim ) 현대영미어문학회 1998 현대영미어문학 Vol.16 No.2
As Jerry’s death in The Zoo Story is shocking, the motives of his death are not at all convincing. This led many critics to argue the meaning of his death and explain it in various ways. This paper attempts to reexamine other possible motives of Jerry’s death focusing on his desire and its functions in relation to Lacan’s concept of desire and narcissism. Jerry’s desire is to have a meaningful relationship with someone. However, he knows how hard it is. Jerry tries to have a meaningful relationship with the dog at the rooming house where he stays. But when Jerry fails to build the relationship with the dog by serving it hamburger meat, Jerry attempts to kill the dog with poisoned meat. After this incident, the dog ignores Jerry. Jerry attempts to have a relationship with a man, who happens to be Peter. Jerry, however, treats Peter the same way he treated the dog. Jerry is violent, both verbally and physically, to Peter. Jerry wants to impose his desire on Peter. In doing so, Jerry kills himself. His suicide is reflective of his narcissism according to Lacan. In his attack on Peter, Jerry sees Peter not as an individual but as a representative of the American middle class. Jerry sees Peter as the Other of the Symbolic, an object of an attack, which often appears in the action of a narcissistic person.