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권진영(Kown, Jin-Young) 신영어영문학회 2014 신영어영문학 Vol.57 No.-
During the reign of Queen Elizabeth Ⅰ, the Golden period of English drama, political power was considered highly theatrical, and that theatricality of power was practiced by the court. The theatrical propensity of power in his time was subtly appropriated to safeguard the sovereignty of the Tudor monarchy and at the same time, the political power of theatricality in the plays was utilized by rebellious figures in their attempts to attain political power, thereby overthrowing the ruling monarchs. This article examines how politics and theatricality are interwoven in Henry Ⅵ Part 2. Slandering the weaknesses and incompetence of Henry VI as the ruler of the nation, the Duke of York (Richard Plantagenet) attempts to usurp sovereignty through the theatrical strategies of hypocrisy and deception. He manipulates Jack Cade into rousing rebellious forces and throwing the nation into chaos. Jack Cade imitates and parodies men in power in an exaggerated way. Yet the mob frenzy and the absurd situations created by his revolt against the ruling power eventually serve to legitimatize Henry Ⅵ’s act of containing them.
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『헨리 4세 1부』와 『헨리 4세 2부』의 셀프-패셔닝
권진영(Kown, Jin-young) 신영어영문학회 2017 신영어영문학 Vol.68 No.-
Self-fashioning, a term introduced by Stephen Greenblatt (Renaissance Self-Fashioning, 1980), is used to describe the process of constructing one’s identity and public persona toward political power. He perceived that fashioning oneself and being fashioned by cultural institutions such as family, religion, state, were inseparably intertwined, and there were no moments of pure, unfettered subjectively. The kingship in the Elizabethan period utilized self-fashioning and the theatrical politics. The theatrical practice of the power was beneficial for intensifying and maintaining the Tudor monarchy. Shakespeare was under the influence of theatricality in the political, social, and cultural fields. Shakespeare’s history plays served the manifestation of histrionic quality of power dealing with the histories connected with Queen Elizabeth 1. This article starts from the premise that political power is highly theatrical in Shakespeare time, and explores the theatrical strategies by the main characters in Henry IV Part 1 and Henry IV Part 2.
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