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南賢淑 동아대학교 문과대학 영어영문학과 1987 동아영어영문학 Vol.3 No.-
Through Williams' major plays, redemption and the redeemer figure provide a central metaphor. Williams' redeemer figure do not limit to that of a Christian redeemer, but harkens back to still earlier non-Christian prototypes, Orpheus, Adonis, and Oedipus. Therefore this paper aims to clarify the 12 motifs which the artist creates around such a figure. Val Xavier of Orpheus Descending(1957) is an outsider to Glorious Hill Val, representative who is symbolic theatrical avatars of the New Testament message of Love or the life-force of the vegetation deity oppose a pharisaical mendacious establishment controlled by an aging import, Old Testament god. This establishment excludes the redeemer figure, or he chooses to exclude himself(1). The magnetic mystique of the virile Val becomes simply sexuality, the mystery of the life-force. Val sexuality sets him apart and constitutes the raison d'e^tre of his threat to the established social structure and god-figure(2). Val seeks a return to a previous stale, that of innocence or a feeling of cleanliness. The creative transcendent experience of sex becomes symbolic of purification in Williams. Val restores Lady to fecundity and responds to her love and need with true emotion and loyalty(3). Val serves the function of replacing a void created by a death or rejection. Through the fulfillment of this void with his fertility and sexuality, Val rejuvenates or restores life(the miracle of ceation). Basically, the male princiole(vegetation god) seeks the female principle in order to effect a sexual union which will result in love and life. Val partially achieves his goal through finding his compatible female principle, and the result of their love-union is Lady's pregnancy. Val and Lady, however, are not triumphant in their union for long, due to her hesitancy to leave the town of Glorious Hill in order to celebrate a macabre revenge over the dying, impotent father-god figure, her husband, Jabe. Val hesitates in order to stay with and ensure the safety of his female counterpart, and his decision is fatal. He becomes a martyr to his love(4,5). Val must confront a very serious, or fatal opposition in Glorious Hill. His conflict results in their questioning of faith. In consciously deciding to become scapegoat and confronting his fatal opposition, Val chooses his own morality or beliefs over escape or conformity. He dies because he is true to himself and Lady. Thus his auto-da-fe´, his self-sacrifice, is voluntary(6,7). Val is the archetypal representation of many prototypes, Adam, Orpheus, Adonis, and Christ. All stem from early pagan vegetation deities. This use of characters elevates the resolution of the play to a metaphysical(magical) level. The catharsis the audience experience via its empathy with Val returns the theatre to its orginal purpose of the celebration of a community of a life/death mystery play(8,9). The sex equals god formula is operative in the plays in that the vegetation god(the redeemer) possesses power that is equated to or strongly dependent upon his sexuality. Val opposes older, more entrenched, pharisaical god figures who represent darkness and evil versus the redeemer's light and goodness. Thus, Val poses a direct sexual threat to the sterile establishment leader(10). The symbolic accouterments of William's redeemer in Orpheus Descending reinforce the character's symbolic actions. Val's snakeskin, his guitar, his "tree of life" curtain and his living quarters are symbols of redemption or regeneration. Williams' religiosity is not so simplistic as to be strictly Catholic or even Christian. His religious symbology extends back to pagan and primitive cults, which share a common foundation with Christianity(11). The confession of the redeemer is Williams' ultimate means of eliciting empathy from the audience. Val humbles himself before the others of the play. He reveals his innermost feeling and experience candidly. Val sees through Lady in regard to her offer of the alcove for his living quarters. But he does not judge. He forgives, thus exhibiting his Christ like quality of mercy. Following this self-recognition, Val k and Lady consummate their love. Val struggles against the forces of darkness, and sacrifices himself out of love. He is the Orphic figure whose music enables him to transcend reality, and defeat death, first temporarily, then through transcendance(12).
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김은희,이공주,남현숙 한국유전학회 1994 Genes & Genomics Vol.16 No.4
Allele and genotype frequencies at sequence polymorphic HLA-DQα locus and length polymorphic D1S80 locus have been determined by PCR amplification from 107 genetically unrelated Koreans. Amplified alleles for the HLA-DQα locus were typed with specific oligonucleotide probes and those for the D1S80 locus with a discontinuous vertical PAGE system and silver staining. Genotype frequencies of both loci did not deviate significantly from Hardy-Weinberg equilibrium. The 6 allele frequencies of HLA-DQα range from 4.3% to 31.5% and the power of discrimination (PD) with 19 genotypes was 0.92. The D1S80 locus exhibited 48 genotypes with at least 22 alleles and their heterozygosity was 90%. The allele diversity value and the PD of D1S80 were found to be 0.86 and 0.96 respectively. The PD to identify individuals can be reached to 0.997 by simultaneous D1S80 and HLA-DQα typing. The allele frequency data of D1S80 and HLA-DQα in Korean population might provide valuable information on paternity determination and individual identification in forensic samples.
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