존 씽의 『말을 타고 바다로 가는 사람들』의 배경 속 신화와 시장의 병치

정철성 ( Juhng Chullsung ) 대한영어영문학회 2014 영어영문학연구 Vol.40 No.1

John M. Synge’s reputation as a playwright has been swayed between two extremes. The first repulsion has given its way to complements, which naturally raises a question: what happened in between? Scholarly approaches, which began to see Riders to the Sea as a tragedy, found out that it is not as impressive as Greek and/or Shakespearean tragedies. Other researchers put more emphasis on nature’s ferocious power to interpret the inevitability of events. They failed to look into the real life of the Aran Islands where primitivism kept its traces but the process of modernization was making its steady advance. Maurya and her children live in the two different worlds: the traditional and the modern. The young priest plays a role as a mediator between the island and the mainland. Bartley who is attracted by the profit he can get from a market in Galway defies his mother’s traditional wisdom. Among these people lies a conflict that tears them up between Maurya’s mythical explanation of what happens in the island and the logic of mainland market that attracts the younger generation. Primitivism, inevitability and even tragic lyricism belong to the island myth while modernization is represented as a force that is invisible but ever-influential over the islanders. In the first half of the play, the myth and the real occupy their respective territory on the stage. After Maurya’s vision with her “second sight,” however, mythical lamentations and prayers presides over the atmosphere. The play shows the fear of remote islanders who will face the inevitable modernization sooner or later. (Jeonju University)

『골짜기의 그림자』에 나타난 낭만적 삶

강준수 ( Jun Soo Kang ) 한국현대영어영문학회 2016 현대영어영문학 Vol.60 No.2

The purpose of this paper is to investigate the essential value of life through protagonist, Nora in The Shadow of the Glen. J.M. Synge stages the people he met on the roads, the stories he heard from them, and the Aran Islands he visited. The Shadow of the Glen is his first attempt to reflect every aspect of life that happened in the Aran Islands. Synge describes conflicts of Dan and Nora who live in secluded glen. Nora is a lonely woman maintaining loveless marriage under the repression of her husband. However, she starts her journey with Tramp for pursuing her own free, communication, and communion. Nora’s husband, Dan, does not try to understand his wife. Of course, he cannot understand Nora because he is full of prejudice. Also, Dan and Michael are similar characters in that they are enslaved by materialism. On the other hand, Tramp is a character who recognizes the abundance of nature and enjoys the richness of an emotional life. His attitude and recognition toward nature make Nora to follow him facing the danger of wandering. Nora tries to achieve the brisk life by escaping from material security offered by her husband in this work. In conclusion Nora overcomes her sufferings and succeeds in the pursuit of the rich and romantic life. (Anyang University)

『바다로 가는 기사들』: 사실과 상징의 조화

김인표 ( In Pyo Kim ) 한국현대영어영문학회 2014 현대영어영문학 Vol.58 No.4

Riders to the Sea was dramatized based on the experiences which J. M. Synge had firsthand in the Aran Islands. He often visited there from 1898 to 1901 and acquired the materials for his drama through observing the inhabitants of the islands and their customs. In that Synge depicted meticulously everything in detail such as the surroundings of the islands, the people he met and their customs and tradition in his play, Riders to the Sea, he is a realist and the play is very realistic. However, Riders to the Sea is also full of many symbols. The props, the characters` behavior and dialogue, and the events in the play are symbolic as well as realistic. Realistic things on stage contain deeper symbolic meanings and the play reveals a harmonious effect of realism and symbolism. Also through the harmony this play broadens our vision to the universal theme ‘acceptance of fate’ and Maurya, the protagonist, achieves the status of a tragic heroine through accepting her fate and praying her merciful prayers not only for her dead sons but also for all the people left living in the world. Maurya`s tragic awareness and her tragic vision throughout the play prove that Riders to the Sea is a true tragedy.

인간의 노동과 영화적 자연풍경의 미학적 의미: 로버트 플레허티 『아란의 사람』, 신도 가네토 『벗겨진 섬』, 테렌스 맬릭 『천국의 나날들』을 중심으로

이익주 ( Lee Ik Joo ) 아시아문화학술원 2016 인문사회 21 Vol.7 No.4

본 연구는 노동의 문제를 통해 자연 풍경이 어떻게 새롭게 정의될 수 있는지 영화 이미지를 중심으로 한 분석이다. 자연풍경은 단지 자연의 아름다움에 대한 문제가 아니다. 특히, 노동이 자연풍경과 결부되어질 때, 자연풍경의 문제는 정치적인 담론의 경향성을 띄게 된다. 자연에서 일하는 노동자에게 자연풍경은 찾기 어렵다. 왜냐하면, 적당한 거리에서 자연을 향유할 수 있는 지배계급에 비해, 그 거리가 존재하지 않는 노동자 계급에게 자연을 향유할 수 있는 조건은 박탈되어 지기 때문이다. 랑시에르에 따르면, 미학은 감성학으로서, 예술작품을 통해 세계에 대한 감각적인 것을 모든 계층에 돌려줄수 있는 사회적 나눔이라는 정치의 문제로서 등장한다. 이런 면에서, 노동을 직접적으로 보여주는 영화 예술 안에서 자연풍경을 노동과 함께 연관 지어 미학적으로 사유할 때 노동과 자연풍경의 의미는 새로운 차원의 감각을 우리에게 부여한다. 자연풍경안에서 인간의 노동을 보여주는 로버트 플레허티(Robert Flaherty)의 『아란의 사람』(Man of Aran, 1934), 신도 가네토(新藤兼人)의 『벗겨진 섬』(裸の島, 1960), 테렌스 맬릭의 『천국의 나날들』(Days of Heaven, 1976)은 단지 자연의 이미지와 인간의 노동의 재현이 아니라 인간의 노동에서 대해서 미학의 정치를 생각할 수 있도록 이끈다. 특히, 신도 가네토의 영화는 노동자의 침묵 속에서 인간의 노동의 문제를 청각적 풍경까지 연결시키면서, 몫 없는자로서의 노동자의 말이 어떻게 드러날 것인지 까지 사유하고 있다 This study is about how meaning of landscape can be redefined in connection with problem of labour in cinematic images. Landscape does not just concern the beauty of Nature. Particularly, if landscape is related to human labour, it becomes problem of political discourse. It is not easy to find landscape for a labourer who has to work in nature. Compared with the governing classes who can enjoy landscape within moderate distance from nature, the working class is deprived of the condition of enjoyment about landscape because of the absence of its distance. According to Ranciere, aesthetics is about problem of sense and it appears as a problem of politics which is that of social distribution in order to give the sensible back to all classes through works of art. In this way, when we aesthetically consider the films of human labour within landscape, they give us a new sense of landscape and human labour. 『Man of Aran』(1934) of Robert Flaherty, 『Naked Island』 (1960) of Shindo Kaneto, 『Days of Heaven』(1976) of Terrence Malick give a new perspective of human labour as politics of aesthetics. Especially, the film of Shindo Kaneto is concerned how to express in their silence in the face of ``auditive landscape`` of Nature the word of labourers who are those without a share.

Drama as Creative Ethnography: Revisiting J. M. Synge’s Riders to the Sea

박희본 한국영미어문학회 2019 영미어문학 Vol.- No.132

Modern reassessment of J. M. Synge’s portrayal of subsistence lifestyles in rural Ireland has proven his vision to be more accurate than that of the nationalists, Gaelic Leaguers and contemporary critics. In this context, Riders to the Sea (1904) is significant in that it gives a voice to a marginalized, unvoiced society, and its female members in particular. This paper revisits this dramatization of a pre-Western community’s struggle against extreme nature, poverty, local gender norms, and loss, cross-reading Synge’s The Aran Islands as the play’s creative ethnographic paratext or pre-text. As a result, Synge emerges as an amateur scientist/artist of the enlightenment type, versed in western literature, objective data collection, and the Gaelic language. His representation of the islanders, along with his use of modern technology, anecdotal evidence, and personal reflection, combines modern and postmodern methods of ethnographic research. The study demonstrates that Riders to the Sea satisfies an ethnographic as well as artistic function, being an effective social, cultural state-of-the-nation play that is universal in its focus on issues of poverty and exclusion.

『바다로 말을 몰고 간 사람들』에 나타난 바다와 죽음

이종문 ( Jong Moon Lee ) 한국영미문화학회 2008 영미문화 Vol.8 No.2

The Politics of the Body in The Cripple of Inishmaan

Kim Hwa Soon(김화순) 한국현대영미드라마학회 2008 현대영미드라마 Vol.21 No.2