리처드 그린버그의 Three Days of Rain에서 건축의 음악적 침묵과 포스트모던 도시성의 재현

정병언 한국현대영미드라마학회 2022 현대영미드라마 Vol.35 No.3

This essay examines the ways in which the musicality of architectural silence is appropriated as a strategy for representing postmodern urbanism in Richard Greenberg’s Three Days of Rain. Relying on the aesthetic value of silence in John Cage’s chance music, the essay pays attention to the representational possibility of silence created by the glass walls of Janeway House and Farnworth House. As the walls let light or sound freely come into the inside of the buildings, Greenberg employs the play as a vehicle for the landscape of a postmodern city “faithfully” represented by giving up his authorial desire of order. The episodes of the play are not consistently related with each other, and its characters are also so fragmented at non-places of the city that they are philosophically situated at “homelessness.” The audience are given freedom to fill out areas of indeterminacy in an attempt to create their own interpretation of the play. Breaking from the conventional system of order, the play tries to close the gap between art and life. Thus, it is contended that Greenberg makes audiences face the reality of life itself, while paving way to the representation of the unrepresentable.

Legitimating wrong and shame : Race, possession, and the dissolution of community in go down, moses

정병언 부산대학교 1997 효원 영어영문학 Vol.15 No.1

본 논문은 포크너의 「모세여, 내려가라」에 내재한 미국 백인 문화가 낳은 병적 양상과 이의 극복을 통한 새로운 공동체의 가능성을 분석하고 있다. 무엇보다도 이 작품에 나타난 인종차별주의와 백인의 공간 개념이 어떻게 흑인 지배를 합법화하여 이상적 공동체를 파괴하는 수단이 되는가를 예증하는데 주안점을 둔다. 캐로더즈와 그의 후손들은 피부 색깔을 바탕으로 한 인종적 서열을 정립하고 타자를 자신들보다는 열등한 종족이라는 가정을 기정의 사실로 믿고 이 믿음에 따라 행동한다. 인종적 타자는 열등하여 자신을 대변할 능력이 없기 때문에 백인이 보호·지배를 받아야 한다는 이데올로기가 백인의 의식을 지배하고 있다. 플랜테이션이라는 닫힌 사회에서 일어나는 캐로더즈의 근친상간은 흑인을 소유 가능한 "무생물"임과 동시에 백인의 이기적 욕망을 충족시켜 주는 수단으로 간주하는 데서 비롯된다. 이렇듯 백인이 자의적으로 정의한 "무생물"이나 "열등한 종족"이라는 흑인의 정체성 규정에서 비롯된 차이와 차별의 양상은 흑인과는 식탁이나 침대를 공유하기를 거부함으로써 물리적 거리를 유지하여 인종적 차별화를 영속화하려는 백인의 의도와는 맞물려 있다. 이리하여 공동의 유대를 바탕으로 어릴 적에 쌓였던 흑백간의 신뢰는 인종간의 경쟁으로 변한다. 이 논문은 피부색에 기초하여 형성된 이분법적 사회구조 속에서 행해진 조상의 '과오와 치욕'을 자신들에게 무한한 자부심을 가져다주는 합법적인 행위로 규정하는 백인 지배 이데올로기의 허구성을 드러내고, 그 대안으로 내세울 수 있는 흑인의 사랑에 입각한 새로운 공동체의 가능성이 어떠한 형태로 드러나는가를 분석한다.

Identity crisis in between : Adrienne Kennedy's funnyhouse of a Negro

정병언 부산대학교 1996 효원 영어영문학 Vol.14 No.1

줄리아 조의 '듀랑고', 장소 상실자들의 여행과 꿈

정병언 현대영미어문학회 2015 현대영미어문학 Vol.33 No.1

In this essay, I explore “placeless” characters’ spiritual transformation in Julia Cho’s Durango, by utilizing Edward Relph’s concept of placelessness along with spatial theories of Gaston Bachelard’s “home” and Martin Heidegger’s “Being-in-the-World.” In this play, Boo-Sung’s family members undergo change in the process of a ritual journey of confession. This journey paves the way for a new “home” while allowing the characters to enjoy enriched communication, expand their understanding, and be enlightened in the art of loving each other. In this context, this essay offers an analysis of ho223w their psychological distance reduces the authenticity of home. Especially, their emergence into the uncanny world of fantasy arguably indicates their yearning for home. With the premise that their journey to Durango is a process of transformation, this essay analyzes the possibility of self-discovery necessary for constructing an authentic home with attention to the sense of human attachment and belonging as modes of “Being-in-the-World.”

루이스 발데스의 『주트 수트』에 나타난 경계선 권력과 메스티사헤 의식

정병언 새한영어영문학회 2022 새한영어영문학 Vol.64 No.3

Luis Valdez’s Zoot Suit is a musical documentary that recounts the experiences of the Chicano against the backdrop of the Sleepy Lagoon trial in Los Angeles and the Zoot Suit Riots. This paper considers his vision of “illuminating the human spirit” in the actual conditions of social injustice visually spatialized in this play. By utilizing Michel Foucault’s discourse theory along with Gloria Anzaldúa’s concept of borderland, the paper examines the ways in which the cultural, political, and racial battlefield of Los Angeles would be potentially transformed into a liberated community of hybridity. It is hinted in the interracial relationship between Henry and Alice, and in the white American judge Charles’s change in perception of the Chicano. Zoot Suit provides us with the honoring and embracing of each other’s differences as a strategy for “a third country,” while revealing the ruling system’s spatial politics of exerting its bordering power. Throughout the paper, I argue that the play functions as a political tool of paving the way for blurring the borders by opening the door to the racial, cultural, and economic other.

호세 리베라의 Marisol에서 도시경관의 생산과 재현

정병언 한국현대영미드라마학회 2020 현대영미드라마 Vol.33 No.2

Producing and Representing the Urban Landscape in José Rivera’s Marisol Abstract Jung,Byung-Eon(PusanNationalUniv.) In this paper I examine how the urban landscape of New York City is ideologically shaped by social, cultural, and political processes in terms of race, ethnicity, and economy in José Rivera’s Marisol. I apply cultural and geographical theory to landscape interpretation to argue that this play spatially represents the conflict among various groups for the contested space of New York City as a “commodity, something of value.” In this play the ruling class constructs the urban landscape in relation to their own perspective to protect the city from being metaphorically contaminated by the Nuyorican and the homeless. In defiance of boundaries imposed by the ruling class, however, the others pursue a strategy of boundary crossing for their own possible liberation. Throughout this paper, I argue that urban landscape and spatial differentiation are ideological, but that Marisol situates the audience in the position of participating themselves in the practices of freedom by revealing the ideology behind the logic of visualization that counts for the others’ exclusion.

폭력의 일상성과 차이의 공간 -사라 케인의 『폭파』-

정병언 21세기영어영문학회 2009 영어영문학21 Vol.22 No.1

This essay examines Sarah Kane's Blasted in the context of Henri Lefebvre's thesis on “the everyday” and “differential space.” In light of his concept of space, the study sees Blasted as a metaphor for contemporary world. It also discusses how “differential space” is generated by the social act of love. Early in its run at Royal Court Theatre Upstairs, critics, even in post-Thatcher Britain, often dismissed Blasted for its gratuitous violence. Critics also complained about the play's ambiguous setting. However, these anti-realistic elements deftly express the banality of violence in a postmodern society. Artaudian cruelty, after all, serves to attack the torpor of an audience culturally innured to violence, thus awakening its consciousness to the necessity of what Lefebvre calls “differential space.” Cate's voluntary practice of love, for instance, prods the audience into transforming their passivity into voluntariness in spatial practice for “the space of ‘yes', of the affirmation of life.” This voluntary moment becomes the force that will restore the integrity of an individual and his or her outside world, thus ending the chain of violence. In this sense, Blasted serves as “a space for change,” with special emphasis on the necessity of this moment for a “differential space.”

앨리스 칠드러스의 초기극과 인종차별의 공간화

정병언 21세기영어영문학회 2012 영어영문학21 Vol.25 No.2

흑인여성 이미지와 상징적 폭력: 앨리스 칠드러스의 Wine in the Wilderness

정병언 한국현대영미드라마학회 2007 현대영미드라마 Vol.20 No.2

삶의 불확정성과 은유로서의 수학적 증명: 데이비드 오번의 Proof

정병언 한국현대영미드라마학회 2003 현대영미드라마 Vol.16 No.2