Tom Stoppard의 Hapgood과 포스트뉴튼적 인식론의 가능성

정병언(Byung-Eon Jung) 한국현대영미드라마학회 1999 현대영미드라마 Vol.- No.11

수전 글래스펠의 『가장자리』에서 은유로서의 공간과 다름의 정치

정병언(Jung, Byung-Eo) 새한영어영문학회 2021 새한영어영문학 Vol.63 No.4

This essay examines how space as metaphor functions as a rhetorical trope for the space of otherness through which female liberation is represented in Susan Glaspell’s The Verge. Drawing upon Henri Lefebvre’s theory of the production of differential space, this essay provides a close reading of the implications of spatial concepts related with built structures of the greenhouse and tower. Such concepts are visually valuable in expressing the properties of space concerned with patriarchal system or female liberation. In contrast with the patriarchal society symbolized as the space inside a circle, a “different” space for liberating women is represented in terms of “out,” “outness,” “out there,” and “otherness.” It is argued that the spatial concepts of architecture in The Verge serve as a strategy for visually challenging the audience to act out against existing traditions and norms so as to secure a “concrete utopia,” where women are guaranteed spatial justice.

미국 흑인극의 환상공간과 기괴함의 전복적 욕망

정병언(Jung, Byung-Eon) 한국현대영미드라마학회 2005 현대영미드라마 Vol.18 No.3

4.48 Psychosis 의 충격의 미학 : 폭력에서 사랑으로

정병언(Jung Byung-Eon) 한국현대영미드라마학회 2011 현대영미드라마 Vol.24 No.3

This essay examines how the aesthetics of shock resulting from a subversive form of verbal violence functions as a means of transforming the audience into a Levinasian subject of consideration and love responsible for the vulnerable other in Sarah Kane's 4.48 Psychosis. Many critics have regarded this play as a dramatic "suicide note, " bringing forward evidence for her suicide not only from the play itself but also her bout with clinical depression ending in suicide. This approach risks missing its aesthetic beauty as a literary art. This essay insists on the effect of shock as a means for the epiphany of the face of the Other, thus paving the way for separating the audience from their own prejudice and attitude deeply ingrained in a legitimate society of violence. By extremely exposing the patient's mind as the locus for the shocking images of violence, 4.48 Psychosis engages the audience in a journey of being immersed in an intensive force as "a bloc of sensations" of violence. Along with their irresistible claims to responsibility, this shocking images serve as a prerequisite for the ethical encounter with the Other. Through the ethical effect of this shock, 4.48 Psychosis presents itself as a demand for the audience to respond to the "nakedness" and "defenselessness" in the face of the Other.

저항적 여성공간으로서의 헤테로토피아

정병언(Jung Byung-Eon) 한국현대영미드라마학회 2007 현대영미드라마 Vol.20 No.3

마틴 셔먼의 Bent에서 성정체성의 문신화와 배제의 지리

정병언(Jung, Byung-Eon) 한국현대영미드라마학회 2017 현대영미드라마 Vol.30 No.2

체리 모라가의 극에서 경계지대와 해방의 지리

정병언 ( Byung-eon Jung ) 21세기영어영문학회 2020 영어영문학21 Vol.33 No.1

This essay explores the ways in which the borderlands of Chicanos are symbolically transformed from “a vague and undermined place” to a future freedom in Cherríe Moraga’s The Heroes and Saints, Watsonville, and The Hungry Women. By utilizing Gloria Anzaldúa’s theory of borderlands along with the geographic concepts of race, culture, gender, and sexuality, this essay argues that these plays function as a kind of “war on forgetfulness” in order to help the audience recognize the spatial loss of Chicanos in McLaughlin, Watsonville, and Phoenix. In these borderlands, residents are excluded on the basis of the “imaginary geography” of the dominant system. The differences of race, culture, gender, and sexuality serve as dominant ideologies to justify the geographical division through conquest, mapping, or mythology. Chicano voices have long been deleted and silenced, yet Moraga’s plays set the stage for the liberation of such unstable Chicano identities as laborers, illegal immigrants, and homosexuals. Here, she creates ‘new mestizas’ based on Aztlán as symbols of the spirit of freedom, which will disrupt barriers and call for a tolerance of differences. In the context of the politics of space, these plays “write freedom” by way of crossing borders spatially manifested in the geography of exclusion, economic enslavement, and patriarchal nationalism.

베케트 극의 침묵이라는 연극장치

정병언 ( Byung Eon Jung ) 21세기영어영문학회 2013 영어영문학21 Vol.26 No.1

This essay examines the ways in which silence in John Cage`s “chance operations” functions as a theatrical device for revealing noises on the stage in Samuel Beckett`s plays. His silent piece 4`33” uses silence as both a space and a period of tine for various noises in order to give our absurd life the opportunity to be represented irrespective of the author`s intention. As this piece implies, our world is not a place for silence, but it is filled with unfamiliar noises. Just as Cage considers these noises to be important musical or theatrical elements, Beckett has utilized “chance operations” for the staging of noises in Waiting for Godot, Endgame, “Act Without Words I”“Act Without Words I,” and “Breath.” On such theatrical stages for silence as an isolated place, a claustrophobic empty chamber, or a desert, various noises are incessantly inscribed as metaphors for representing the existential situation of human beings. By diminishing the role of an artist for his faithful representation of life, Cage positively employs silence as a theatrical device of what he calls “waking up to the very life we`re living.”

여성공간과 상징폭력 : 미국 여성극을 중심으로

정병언(Jung Byung-Eon) 한국현대영미드라마학회 2010 현대영미드라마 Vol.23 No.2

This essay analyzes the relationship between symbolic violence and masculine domination in American Women's Drama, and argues that Tapestry, Crimes of the Heart, and 'night, Mother enact the ways in which female characters internalize their own dominated roles or places, that is, the social order shared by the sexes in the social matrix. Drawing on Pierre Bourdieu's notion of symbolic violence, this essay examines how inequitable gender relations are sustained and reproduced through social practices and structures. As a gentle, invisible, and pervasive violence, symbolic violence functions as a means of controlling the dominated social agents, while maintaining its effects through their misrecognition of legitimacy of the social order. Symbolic violence allows for further understanding of the ways in which female characters are oppressed in these plays. So embedded in the social practices and the unconscious, symbolic violence makes female characters social agents of conformity and submission. On this basis, these plays can be examined as critiques of masculine domination by means of gentle and invisible violence. Specifically, institutions such as family, school, and church function to preserve familiar ideological mechanisms that validate masculine domination, thus making female characters view social order not as something imposed by patriarchal society, but rather as a natural and legitimate way of life. This essay concludes by arguing that, despite their own limits, these plays open up possibilities for constructing female space of autonomy and liberation by delegitimizing the oppressive culture.

필립 칸 고탄다의 가족극에서 트라우마의 공간화와 상처의 치유

정병언(Jung, Byung-eon) 한국현대영미드라마학회 2018 현대영미드라마 Vol.31 No.2

This paper examines the spatial representation of trauma and the treatment of its injuries in Philip Kan Gotanda’s family play--A Song for a Nisei Fisherman, The Wash, and Fish Head Soup--by focusing primarily on Japanese American response to the devastating impact of internment camps in the western interior of the United States during World War II. The reason for their traumatic shock in racialized spaces such as the camps, farmlands, pubs, and military units in the US during the Vietnam War is due to the marginality of racial in-betweenness, a scenario in which they are treated neither as Americans, nor as Japanese. This analysis utilizes Cathy Caruth’s concept of trauma to argue that the trauma experienced by Japanese Americans spatially appears in the uncontrolled possession of their “overwhelming experience” of the event. Even though such experiences of “anger and self-loathing” are internalized and even silenced, their trauma is repetitively spatialized in their daily life, geographically distanced from one another, as exemplified in the immersion of fishing for their own space, the absence of communication between family members, and a severing of social relations. This physical and psychological distance is derived from the traumatic shock of their racially excluded experience. One may conclude that Gotanda’s plays function to let the audience recognize and “do something about the world” by spatializing the racial trauma.