공화정과 왕정복고기를 전후한 극장구조의 변화에 따른 공연양식과 담론의 변화

송원문 새한영어영문학회 2005 새한영어영문학회 학술발표회 논문집 Vol.2005 No.5

베니스의 도망친 두 딸들의 같음과 차이: 제시카와 데스데모나

송원문 새한영어영문학회 2012 새한영어영문학회 학술발표회 논문집 Vol.2012 No.10

왕정복고기의 캘리반: 토마스 새드웰의 캘리반에 반영된 식민주의

송원문 신한영미어문학회 1999 새한영어영문학 Vol.41 No.-

As soon as the theatrical activities resumed in London, William Davenant and John Dryden adapted Shakespeare's The Tempest for the Restoration taste. Later, Thomas Shadwell altered the Restoration-version Tempest for the opera titled The Tempest, or the Enchanted Island. Shadwell's opera The Tempest, or the Enchanted Island was not much different form Shakespeare's original play in its theme and plot. Because of the operatic characteristics, Shadwell's opera heavily focused on visual effects showing elaborate spectacles on stage. In other words, Caliban's monstrosity was represented more elaborately in order to stimulate the Restoration spectators' biased fantasy on "other" culture and people. Since literary works are cultural constructions which reflect cultural conditions, the differences between the original play and Shadwell's opera might result from the different cultural environments related to colonialism. If the Shakespearean era just started English colonial efforts of exploring and colonizing "other" lands, the Restoration era was the time of actively managing colonies, getting practical benefits from them. So, it might be a matter of fact that the colonialist prejudice in representing Shadwell's Caliban is more reinforced than that in Shakespere's. Caliban's physical otherness was more theatrically exaggerated in order to arouse spectators' interest of watching exotic freaks on stage. Shadwell's Caliban more vividly resembled a devilish sub-human monster through more developed Restoration stage realism.

풍요에 대한 두 가지 양상 : 물질적 욕망에 대한 쟈코비안 도시희극적 해석-토마스 미들톤의 『칩사이드의 요조숙녀』

송원문 새한영어영문학회 2006 새한영어영문학회 학술발표회 논문집 Vol.2006 No.5

영웅비극에 반영된 왕정복고기 질서의식

송원문 새한영어영문학회 1999 새한영어영문학회 학술발표회 논문집 Vol.1999 No.5

포르노그라피와 여성주의 문화이론

송원문 새한영어영문학회 2001 새한영어영문학회 학술발표회 논문집 Vol.2001 No.2

클레오파트라 길들이기 : 클레오파트라의 극적 재현에 반영된 오리엔탈리즘 Orientalism in Representing Cleopatra

宋元文 한국영어영문학회 1998 영어 영문학 Vol.44 No.1

『욕망의 지속적 상태』에 나타난 캐런 핀리의 여성 성욕에 대한 여성주의적 공연미학

송원문 한국영미문학페미니즘학회 2002 영미문학페미니즘 Vol.10 No.1

The central idea Karen Finley tries to develop in The Constant State of Desire is that female sexuality and biological identity should be defined by women themselves, not by men. In order to define new female sexuality and identity for women, she keeps the focus of her performance aesthetics on strong negation against the conventional performing and narrative mechanism called realism. She challenges and derides realism conventions which have been used for reinforcing male-centered cultural regime. She firmly believes that the conventional realism cunningly strengthens the discourses of dominating culture in representing established gender-class power dynamics. Throughout the performance of The Constant State of Desire, Finley wishes to destroy every tool and representational mechanism for realism conventions in order to represent her own female sexuality both in words and images. Since the conventional representations of female body and sexuality have been contaminated and distorted by patriarchal cultural ideologies, Finley's work and performance are fully devoted to tearing down male fantasies about female body and sexuality. Grotesque words and obscene scenes themselves are not for the purpose of her performance but just for her tools to express her feminist performance aesthetics. Finley shows great enthusiasm in defining biological identity of her own sex. Exposing her body and pornographic expressions can be her own shocking and aggressive statement for new definitions of female body and sexuality. What she hopes to achieve in her work and performance is to reject the male-fabricated images and words about women and their sexuality. In The Constant State of Desire, Finley's messages, expressed both in words and scenes, stir up strong fear and criticism from the dominating male-centered culture. However, what she has done in The Constant State of Desire is neither a performance happenings nor a vain symbol. Finley's themes and aesthetics in the play are now gradually obtaining broad support from various classes.

Two Producible Psychoanalytic Interpretations on Strindberg's Creditors

송원문 대한영어영문학회 2003 영어영문학연구 Vol.29 No.2

Won-MoonStrindberg's Creditors, written in 1888, was presented right after his two representative plays(The Father and Miss Julie). While he was writing the play, he was interested both in psychological studies and in the social reformation against the establishment. Strindberg artfully embodied his interest through the play's plot and theme. The play intimately reflects the characters' social environment as the background for their psychological conflict.Performing Creditors on stage, there can be two productible psychoanalytic interpretations in defining the origins of the characters' psychological struggle. The first way of interpretation is to find out the origin of their psychological conflicts from their own emotional defects such as mental illness or hysteria. For this analysis, this paper examines the three characters' positions in the plot, and scrutinizes Strindberg's biographical elements which may be reflected in characterizing the three characters.The second way of interpretation is to find out from the characters' social backgrounds what deliberately distorts or perverts their psychology and constructs a state of psychological conflicts. For this analysis, this paper tries to seek the sources of the characters' mental struggling from the cultural structure of the society which can classify people's mental and physical behaviors according to their gender, class, economy.Depending upon which directorial interpretation might be taken to find the cause of the characters' psychological conflicts, the thematic message of the play will be different. The fundamental goal of this research is to examine the two producible psychoanalytic interpretations of Creditors. The play will provide two different thematic directions according to how we interpret character's psychological conflicts. <Silla University>

The Restoration Notions of Women in Shadwell's Comedies: The Sullen Lovers, The Humorists, and The Virtuoso

송원문 한국영미어문학회 2009 영미어문학 Vol.- No.90

Thomas Shadwell often derides and criticizes social follies and absurd behaviors of the Restoration through his "humour" characters. His comedies with the "humour" characters provide the audience cynical moments to take a close look at the ways of the silly fashions and the social follies during the Restoration era. Since "humours" are psychological concepts of human behaviors, Shadwell's "humour" characters vividly demonstrate the stereotyped behaviors and mentality on the social desire to acquire money and sex. Those characters do not show their personalities but represent typical models of the Restoration social fashions. Shadwell's comedies are filled with "humour" characters who represent certain professions and classes of the era, so their relationships in comedies are typified according to their "humours" identities in a society such as villains, suitors, and coquettes. Shadwell's "humors" provide good materials to the study of the Restoration social notion of a certain type of characters. In this research, I shall examine Restoration notions of women in Shadwell's three comedies: The Sullen Lovers, The Humorists, and The Virtuoso. To research the gender and power dynamics of the plays' characters, I will dichotomize them according to their gender roles in their society. Then, I shall categorize the female characters according to their social identities such as whores, wives, widows, and coquettes, and find out Restoration social notions about various typed female "humors" characters through their relationships with male characters such as fops, lecherous villains, husbands, and suitors. Thomas Shadwell often derides and criticizes social follies and absurd behaviors of the Restoration through his "humour" characters. His comedies with the "humour" characters provide the audience cynical moments to take a close look at the ways of the silly fashions and the social follies during the Restoration era. Since "humours" are psychological concepts of human behaviors, Shadwell's "humour" characters vividly demonstrate the stereotyped behaviors and mentality on the social desire to acquire money and sex. Those characters do not show their personalities but represent typical models of the Restoration social fashions. Shadwell's comedies are filled with "humour" characters who represent certain professions and classes of the era, so their relationships in comedies are typified according to their "humours" identities in a society such as villains, suitors, and coquettes. Shadwell's "humors" provide good materials to the study of the Restoration social notion of a certain type of characters. In this research, I shall examine Restoration notions of women in Shadwell's three comedies: The Sullen Lovers, The Humorists, and The Virtuoso. To research the gender and power dynamics of the plays' characters, I will dichotomize them according to their gender roles in their society. Then, I shall categorize the female characters according to their social identities such as whores, wives, widows, and coquettes, and find out Restoration social notions about various typed female "humors" characters through their relationships with male characters such as fops, lecherous villains, husbands, and suitors.