『도시의 자유』(The Freedom of the City)를 통해 본 프리엘의 포스트모던적 역사관

정윤길(Jung, Youn-Gil) 강원대학교 인문과학연구소 2011 인문과학연구 Vol.0 No.31

브라이언 프리엘은 아일랜드인들의 의식을 구성하고 있는 여러 이미지와 신화들에 대해 특히 관심이 깊은 작가이다. 이러한 이미지와 신화들을 탈신화함에 있어, 그는 문화적이고 정치적인 조화를 방해하고 있는 기존의 문화적 토대들을 바꾸려한다. 그는 아일랜드의 옛 신화와 역사들을 탈신화하면서 식민주의적 시각에서 벗어난 포스트모던적 역사인식을 바탕으로 기존의 신화와 역사들을 대신하려한다. ??도시의 자유??에서 프리엘은 개인과 공적 형태의 다양한 담론들을 통해 정치적 폭력이라 할 수 있는 역사적 사건에 대해 다층적인 시각을 제공하고 있다. ??도시의 자유??는 1972년에 실제로 일어났던 역사적 사건을 극적 상상과 허구화의 과정을 통해 극 중 1970년의 새로운 이야기로 만들어 낸 작품이다. 이 논문은 프리엘의 극이 특정한 정치적 입장과 관련된 이데올로기적 명령을 그대로 따르는 과거에 대한 재현이 아니라 역사적 재현을 둘러싼 일련의 논의들을 유발하는 아주 흥미로우면서도 의미 있는 작업을 하고 있음을 주장하고 있다. 역사란 과거 사실과 직접적으로 일대일 대응관계도 없으며, 있는 그대로를 재현할 수도 없는 것처럼 보인다. 이와 같은 그의 역사인식은 앞에서 언급한 것처럼 포스트 구조주의적 시각으로 역사를 해석하고 있는 헤이든 화이트의 이론과 많은 연결점을 지닌다. 화이트와 프리엘은 ‘역사는 하나의 텍스트이며 동시에 담론’이라는 동일한 명제로 포괄되어질 수 있다. 이러한 논의 가운데 가장 중요한 것은 역사적 사건에 대한 역사적이며 다양한 형식의 해석과 관련하여 진실과 허구의 기준을 적용하는 것의 문제이다. 프리엘은 역사가는 과거를 설명할 때 역사적 상상력을 활용하여야 한다고 주장하고 있다. 이러한 그의 생각은 역사는 문학적 전통과 역사가의 상상력을 통해 형성된 내러티브라는 것을 말하고 있다. Brian Friel is concerned particularly with the images and myths that have shaped the national consciousness. In demythologizing some of these images and myths, he hopes to alter the cultural foundations that sustain many of the traditional prejudices that inhibit cultural and political harmony. As he demythologize the old histories and myths, he hopes to supplant them with new one, a postmodern view of history that is free from the colonial perspectives. In The Freedom of the City, he gives us multiple perspectives on an incident of political violence through various forms of public and private discourse. In The Freedom of the City Friel offers a new perspective for history which can restate their history. The play was concerned with major event in colonial history. Given the context in which the play was written ― Northern Ireland was in a state of war at the time ― the Catholic residence Bogside ghetto march and riot that took place on January 30th, 1972 in Derry. The argument of this essay is that rather than presenting versions of the past which conform to the ideological imperatives of a particular political stance, Friel’s plays are much more interesting and significant in that they provoke a whole series of questions around the issue of historical representation. This study on both Friel’s historical discussion about making history and his own process of making history in The Freedom of the City to see how his historical drama enacts issues addressed by Hayden White. Metahistories are not embedded in the past?they are imposed on the past, to give it “continuity, coherency, and meaning.”One of the most important of those questions is the applicability of the criteria truth and falsity in historical and other modes of interpretation. He argues strongly that historians employ the “historical imagination” when depicting the past. His idea is that HISTORY is the narrative prose shaped by literary conventions and the historian’s imagination. This essay concludes with a consideration of the politics of memory and forgetting in contemporary Northern Ireland.

일반 논문 : 비구두적 드라마트루기로 본 여성주의 연극 『루나사에서 춤을』

정윤길 ( Youn Gil Jung ) 조선대학교 인문학연구원 2010 인문학연구 Vol.0 No.40

브라이언 프리엘의 작품 『루나사에서 춤을』에 대한 많은 해석들은 극중 기억의 기능에 대한 자신들의 이해를 바탕으로 나누어지는 경향이 있다. 일반적으로 루나사는 테네시 윌리엄즈의 『유리 동물원』에 의해 전형화 된 기억극의 전통을 따르고 있다고 이야기되고 있지만 그러한 장르를 이용하는 프리엘의 목적에 대해서는 다양한 설명들이 있다. 기억극으로서, 주인공 마이클은 엄마와 네 명의 이모들로 구성된 먼디가의 다섯 자매들에 대한 기억을 회상하고 있다. 작품은 육체에 대한 이교도적 의식을 전경화하고 있다. 본 논문은 겉으로 드러나지 않는 정신의 힘을 나타내기 위해 프리엘이 몸짓, 움직임 그리고 소리와 같은 비구두적 언어를 전개하고 있는 점에 주목한다. 작품에서 프리엘은 춤을 최대한 이용하고 있다. 그리고 춤은 작품 전반에서 중요한 의미를 지니며 극적 효과를 발생시키는데 있어서도 주요한 한 축을 담당하고 있다. 『루나사에서 춤을』에서, 소년/내레이터의 장치는 과거에 대한 기억이 무대를 통제하고 지배하는 것을 가능하게 하고 있다. 작품은 생생하게 기억된 일련의 장면들로 구성되어 있으며, 그 중심에 "들리기도 하고 상상되어지기도 하는 꿈의 음악; 자체이기도 하고 메아리이기도 한 것 같은"춤이 있다. 극 중 춤은 이교도의 루나사 축제만이 아니라 아프리카의 부족 의식을 연상시키고 있다. 춤은 치유의 힘을 가지고 있으며 가부장적 언어 질서에서 빗겨난 여성의 성적 에너지의 표출처럼 보인다. 프리엘은 아일랜드 여성 서벌턴의 성역할을 구성하고 그들의 삶을 억제하는 벨리벡의 사회적, 정치적 그리고 종교적 메커니즘을 드러내 보여주고 있다. 결과적으로, 이러한 모든 장치들은 남성 내레이터의 관점에서 포스트콜로니얼 시대에도 아일랜드 여성들이 여전히 가부장적 체제와 가톨릭 규범에 의해 고통을 겪고 있음을 보여주고 있는 것이다. Interpretations of Brain Friel`s Dancing at Lughnasa tend to diverge in their understanding of the function of memory in the play. It is generally observed that Lughnasa stands in the traditions of memory theater epitomized by Tenessee Williams`s The Glass Menagerie, but there are various accounts for Friel`s purposes in utilizing the genre. As a memory play, the hero, Michael, recollects the memory of the five Mundy sisters, his mother and his four aunts. The play foregrounds the pagan consciousness of the body. This paper concentrates on Friel`s utilization of a non-verbal language such as gesture, movement and sound to give expression to the buried forces of the psyche. In this play, Friel makes the most of dancing and it has an important meaning in creating dramatic effects. In Dancing at Lughnasa, the device of the boy/narrator allows memory to control and dominate the stage. The play consists of a series of vividly remembered scenes, at the centre of which is the dancing, stimulated by ``a dream music that both heard and imagined, that seems to be both itself and its own echo.`` The dancing in the play is associated not only with the pagan festival of Lughnasa but also with African tribal rituals. Dancing has healing power and would seem to be the expression of a distinctively female sexual energy which eludes a patriarchal, linguistic order. In this play, Friel exposes the social, political and religious mechanisms in Ballybeg, which have constructed Irish female subalterns` gender role and constrained their life. Consequently, these devices revealed that, from the viewpoint of the male narrator, Irish women in the postcolonial age are still under the hardship, chained by the patriarchial system and Catholic regulations.

브라이언 프리엘의 식민주체구성과 혼종성 : Translations를 중심으로

정윤길(Jung Youn-Gil) 한국현대영미드라마학회 2010 현대영미드라마 Vol.23 No.2

Today Irish writers in literature, philosophy, and history, as well as other discourses, are in the process of rewriting Ireland. Friel is concerned particularly with the images and myths that have shaped the national consciousness. In demythologizing some of these images and myths, they hope to alter the cultural foundations that sustain many of the traditional prejudices that inhibit cultural and political harmony. This essay explores how Brian Friel rejects traditional and normative concept of language and national identity and how he reconfigures through his works postcolonial alternative forms of language and national identities. Hinging upon Homi Bhabha's theory of "hybridity, ambivalence, in-between and the third space," this study puts a great emphasis on the possibility of multiple perspectives by which we look at and interpret the problem of identity and language in understanding postcolonial Ireland. I focus on how Friel turns his postcolonial milieu into alternative forms so that his works could provide an alternative perspective which shows the process of postcolonial subjectification and renarrates his nation/history/identity. There is the appropriation of language/culture of the colonial Ireland in the 1830s in Translations. The play dramatizes some of the key issues pertaining to Anglo-Irish colonial relations and depicts Bailybeg in Donegal country around 1830. Translations became the crucible in which various elements of his outlook on language, fiction, and history fused. What Friel captures in Translations is a critical passage in Ireland's history when the last remnants of a living Gaelic culture are about to become Anglicized. Colonial mapping typically involves the demarcation of such cultural territories as self and other, center and margin and the concomitant superimposition of imperial values on the colonized. Friel's concerns are the act of translation and communication. It is based on the linguistic theory of George Steiner. These concerns have been transformed into a political device to hide and to reveal the colonial intentions as well as the post-colonial implications. Brian Friel like Hugh in this play makes English his own language in order to create a very special Irish English. As a conclusion, Translations demonstrates a keen awareness of the relations between language, politics, and history. Friel describes the extinction of the Gaelic by the colonial England, and shows the emergence of the new language, Irish English. He says there is a possibility that a new identity can be constructed through the formation of the new language.

프리엘의 극에 나타난 서벌턴 그리고 기억/회상의 무대화하기

정윤길 ( Jung¸ Youn-gil ) 동국대학교 영어권문화연구소 2011 영어권문화연구 Vol.4 No.2

The goal of this essay is to examine Brian Friel’s plays with the analysis based on Spivak’s subaltern. Spivak first indicates how the Western process of reasoning foreclosed the subaltern women, criticizing its logical assumptions and abjection. She reveals that the agency of female subjects was blocked and did not allow women to construct their discourse. Her problematization of the colonized subjective agency in terms of imperial epistemic violence and its heterogeneity and the intellectual's positioning helps interrogate the notion of identity as independent and self-sufficient consciousness, exposing the danger of reproducing the imperial power structures and re-silencing the subaltern involved in the process of postcolonial communication. In Dancing at Lughnasa, it is revealed that, from the viewpoint of the male narrator, Irish women in the postcolonial age still undergo the hardship chained by the partriarchial system and Catholic regulations. In this play, Friel exposes the social, political, religious mechanisms in Ballybeg which have constructed Irish female subalterns’ gender role and constrained their life. In the patriarchal world of Friel’s plays, the most subjected are the Irish female subalterns in terms of gender, sexuality, class, and situation. And, therefore, Irish women in Friel’s plays lack their own voice. Molly Sweeney is a political play. The characters stand for either the colonizer or the colonized. Furthermore, this play also deals with the Irish women under oppression. The boundary between the imaginary world and reality which Molly crosses over and returns in the last scene represents the ambivalent situations of confusion the Irish women experience.