Desire Under the Elms에 나타난 Mother-image

梁原玉 한국영어영문학회 1987 영어 영문학 Vol.33 No.3

DICKENS' SATIRE IN HARD TIMES

梁原玉 서강정보대학 1983 論文集 Vol.3 No.-

Dickens는 그의 소설 Hard Times에서 중산계급의 무능과 불공정한 사례를 폭로하고 있는데, 당시 사회적으로나 정치적으로 고압된 민중의식에도 불구하고, 그 사회속의 개인들에게 심한 저항을 느껴 산업주의에서의 그들의 인생관과 철학을 신랄하게 풍자하고 있다. 본 논문에서는 그 시대의 가장 사악한 자들을 모델로 헌상과 실재의 차이를 이용해서그들이 내리는 도덕적 평가의 모순을 지적, Hard Times가 제시하는 이상적 사회상을Dickens가 풍자한 대상과 그 희생물을 옹호하는 태도를 중심으로 전개하고자 한다. 먼저 공리주의의 영향아래 통계와 사실의 원리만으로 살아가는 Gradgrind를 통해서, 교육에 대한 참 가치와 평가사이의 불일치를 발견할 수 있다. 그는 그의 인생이 실패로끝난 후 삶에는 사실이상의 힘을 가진 정서가 있다는 것을 깨닫는다. 한편 Bounderby는 기업의 화신으로서, 고아한 이성도 예절도 없는 자이다. 과거를 부인할 뿐만 아니라 미래조차도 내다볼 수 없는 자이기에 자아마저도 부정하는 인간이다. 또 한사람Harthouse는 Gradgrind와 Bounderby의 비극적 사건을 촉진시키고 있는 인물로 평가된다. 그는 도덕이라고는 없다. 이러한 모든 풍자의 대상은 공리주의나 산업주의에 물들지 않은 서커스단으로 대응이 되고 있으며, 산업사회의 희생물인 Stephen과 공리주의철학에 기반을 둔 Gradgrind의 교육 때문에 버려가고 있는 Louisa와 Tom에 의해서 이상적 사회와 진정한 인간성의 일면이 일깨워 진다. 결국 공리주의에 의해 구성되고 유지되는 산업사회는 그에 맞지 않는 모든 것을 부정하는 혐의로 심문받고 있다. 세상을수정하고자 하는 목적으로, 그 사회속에서 피할 수 없는 역할과 기능을 하는 자들을 공격하는 것은 악의 요소로 인해 초래되는 비극에서 이상적 사회상을 엿 볼 수 있게 한다. 인간의 위엄이 결핍된 비극적 상태에도 불구하고 순진성과 연민을 가진 자들로 표현되는 Dickens의 도덕적 평가는 그들의 희생으로 더욱 폭넓은 평가를 독자에게 남겨 놓는다.

Arthur Miller 의 The Crucible에 나타난 良心

梁原玉 順天大學校 1985 論文集 人文社會科學篇 Vol.4 No.-

Arthur Miller's The Crucible is a play about the Salem Witchcratf Trial in 1962. Although it is on the historical precedent, the play is a drama of universal significance showing the sense of guilt and conscience. Miller links the characteristic of Salem society with the situation during the McCarthy investigations, when people suffered similarly from a guilt resulting from their awareness that they were not as Rightist as people were supposed to be and when he saw men handing conscience to other men and thanking other man for the opportunity of doing so. In the Crucible we see Proctor, the character of centeral interest in the play, leads the opposition to the witch-hunt until he himself is accused, and it is his final stand on his innocence which ensures that the victims will be looked on as martyrs and that the hunt will be halted. As the witch-hunt begins and his wife, Elizabeth, is accused, Proctor's human goodness is revealed. His sin is not witchcraft, but adultery. Even if he has the respect of the community, it makes him feel a fraud and undermines his self-confidence. Proctor cannot get rid of his guilt and he does want to stay alive with Elizabeth when he awaitshanging,' with those few others who have stood firm in their genuine innocence of life and refused to confess to witchcraft. He decides to tell his lie and accept the loss of his good name in the eyes of all men. But he cannot belie his fellow victims, even though he can belie himself. He stands firm against great pressure and the threat of the gallows. When he decides to die, he finds some shred of goodness in him. His load of guilt has fallen off at last, like christian's at the foot of the Cross, and he can stand upright and choose his death like the good man he truly is, justified at last in his own judgement. Miller has the professional crusader's zeal for humanity. And he, in Proctor, wants to show us the last remnant of pride that save us. His chief struggle as an artist and as a public figure is to reinvest the individual with a moral responsibility, showing us that Proctor wants to be left alone with his wife and his farm by making a false confession, but in the end he goes to his death for the moral responsibility and conscience. In conclusion, moral conscience is essential to the world that would be perfect when individuals are unjustly frustrated, tortunred, sacrified in the rotten society. It is conscience as a private matter that makes the world a friendly place, for our society nees such a conscious hero like Proctor. Miller seems to believe that if conscience is not handed over not only to the state or the mores of the time but to one's friend or wife the world will be just and bright. That is Miller's optimism for the future world.

The Zoo Story : 소외의 인식과 구제의 제시 The Awareness of Alienation and the Presentation of Salvation

梁原玉 순천대학교 어학연구소 1991 어학연구 Vol.3 No.-

The purpose of this thesis is to trace Albee's artistic vision, which is essentially an affirmative existentialist world view, and re-examine the existential revolt or metaphysical rebellion against the state of man in the universe and analyze the American society of broken images, of alienation of man in a world which has become unintelligibly complex, of the impossibly difficult task of maintaining one's individuality and consciouseness, and of the human possibility that God is dead. The Zoo Story consists of an encounter between the two men - Peter, anxious at all cost to avoid human contact, and Jerry, alarmingly irrational, apparently determined to provoke some response from the man he encounters. The process of the play is the slow revelation of the nature of Jerry's convictions, the elabolation of a myth which he himself only seems to understand through the process of narration. Albee's impetus to investigate man's metaphysical state and subsequent revolt and improve the human condition was based on what he defined as its basic purpose: "to make a man face up to the human condition as it really is. . ." The entire human condition is a zoo of people (and animals) forever separated by bars. Jerry seeks to break down the bars and cages which keeps Peter, his family, and those like them isolated in their own little zoos. As a beginning of the quests of human nature and conditions in the contemporary American society, Albee expresses the shallowness and meaninglessness of contemporary American society in tracing the progression from a life of illusion and isolation to one of awareness. The main points of emphasis seem to be that salvation for a man like Peter is possible, even though it may come at a high price, and that a mere man can freely elect to penetrate the isolation and illusion of another through a direct confrontation. Thus Jerry's sacrifice is a supreme act of love and it is an critical presentation of the absurdity of existence.

Edward Albee의 The American Dream : 신화의 상실 Loss of the Myth

梁原玉 순천대학교 어학연구소 1994 어학연구 Vol.6 No.-

The myth of the American Dream permeates American literary texts. The Dream is the largely unaknowledged screen - the screen of the perfectibility of man. In Albee's The American dream the sense of innocence implicit in the myth of the American Dream collapses. Mommy and Daddy's dismemberment of their first son is a fitting gesture of perverse difiance, the unabashed response to a satisfaction-guaranteed market and mentality, which is the American Scene of loss. In the play Albee used the ideological and mythic screen of the American Dream as the ironical pole of his story. The appearance of the Young Man allows Mommy and Daddy the chance to reinvent their American Deram myth. As the satiric embodiment of the American Dream he becomes for the audience "the existential question made flesh." But the last opportunity for spiritual regeneration is lost when Grandma, the symbol of frontier spirit, leaves and the young Man moves in. The playwright is drawn to the kind of lament the Young Man voices regarding the loss of love, his fall from grace; at the same time Albee rejects those very cultural and personal attitudes which produce such defleshed persons as the young Man and which produce spiritual dislocations, personal vacuity, and self-annihilating myths. As social protest theater The American dream reflects "back at us the hypocrisy of much of modern American life." Social categories are used as psychological screens behind which the characters lose all sense of original thought or ethical purpose.

Desire Under the Elms에 나타난 Mpther-image에 대한 小考

梁原玉 順天大學校 1984 論文集 人文社會科學篇 Vol.3 No.-

Desire Under the Elms(1924) may be reckoned one of the first classics to be produced by the American theatre, as marking a turning point in O'Neill's development as a dramatist. In the play, O'Neill attempted to express the Force behind in the relation between man and God which he was interested only. There is "something within us," in that life is struggle. In this paper, the Mother-image is examined in order to find out the ralation between man and God, and the Force behind. The Motherimage is found in the stage direction, especially in the expression of the elms. The elms, like exhausted woman, appear to protect and at the same time subdue with a sinister maternity. This seems to be O'Neill's purpose to show tragic possibilities in man's involvement which the Motherimage. The sinister maternity is seen in Min who is a village "Scarlet Woman" and the prostiture-Earth Mother. By taking her, Eben has his mother's revenge on his father, Ephraim. Something in Eben's eys is an example of the bitter hatred that exists between father and son. The hatred becomes intense when Abbie, Ephraim's third wife, is brought to the farm by Ephraim. But the desire to possess the farm, to Abbie, is transformed into the sexual desire for Eben, because of her sinister maternity which has the spirit of Nature. Like Phaedra, Abbie conceals her growing passion for Eben with the mask of scorn. But she is the natural elms and has the life-giving force. And the incest between Eben and Abbie is the prelude of the struggle against the obstacles in the world. It means the hint of the spiritual resurrection or the rebirth of the soul. The sinister maternity is made clear through the infanticide by Abbie. "Something" is the mother that makes Ephraim be lonesome and Eben find his own individuality. In conclusion, the Motherimage can be explained as a "Mystery" that makes man struggle against divorce from an alien world. The expression of the Mystery is the way O'Neill found like, and in the mystery the tragic beauty which is truth is the meaning of life-and the hope in hopelessness.

Our Town의 원형적 차원

梁原玉 順天大學校 1989 論文集 人文社會科學篇 Vol.8 No.-

Thornton Wilder`s Our Town is a work which has archetypal patterns, symbolic forms within routine events of human beings. This paper aims to study the archetypal dimentions in view of the values of the smallest events and order daily life. To reveal a social and psychological mechanism, Wilder has attempted to forge powerful dramatic metaphors out of setting which stands both as a threat to fragile identity and the defining boundary of the world in which his characters must move. Each act in Our Town is called `the daily life`, `love and marriage`, and `death`. They all occur in the village, Grover`s Corners, Wilder has set against the largest dimentions of time and place as a microcosm, beyond a `Now and Here`. Though George and Emily are not a hero and a heroine in myths, their pattern of life is same as the archetypal patterns of myths; growing up, the initiation ritual, the quest and death. The cycle has a power which makes of eternity a nothing and of nothingness an eternity. The vision Wilder offers of the human condition in Our. Town is essentially tragic. It is a picture of the priceless value of even the most common and routine events in life and of the tragic waste of life through failure to realize the value of every moment. It suggests both a conscious mythicism, a sense of life as ritual, and an attempt to insist on a spiritual continuity. Its central theme is the location of individual experience against the background of passing time, of universals. There are echoes here of New Humanism. In this sense Our Town is a kind of religious festival, celebrating life in developing the archetypal dimentions.

The Glass Menagerie와 A Streetcar Named Desire에서의 the Gentleman Caller의 비교 연구

양원옥 21세기영어영문학회 1984 영어영문학21 Vol.3 No.-

Long Day's Journey into Night의 劇的 裝置 硏究

梁原玉 順天大學校 1986 論文集 人文社會科學篇 Vol.5 No.-

Long Day's Journey into Night reveals many sordid facts about the O'neill's family that O'Neill felt were best left unknown. He wrote it "with deep pity and understanding and forgiveness" that spread through the last act and are like a kind of sorrowful benediction. In this play it is seen that although O'Neill was unable to explain life, he was able to accept what life offered, feeling a Force or power over which man has no control. To reveal the characters' inner conflicts and psychological states, he uses some dramatic vices in this play ; the qrarrel, Mary's dope addiction, and the men's drunkeness, while he uses the soliloqies, asides, and masks as dramatic devices in other works. The use of the dramatic devices in this play makes it possible to approach to the realities of life of the past and the present, even though the play lacks a plot in the conventional sense. The quarrel is the primary technique he uses to reveal the past to the audience and becoms highly dramatic affairs, with much emotion and highly charged language poured into each one. The quarrels serve to make evident the underlying affection of the characters for each other, in that the playwright is trying to explain it plainly. Mary's dope addiction and the men's drunkeness are also dramatic devices recalling the events of the past and realities of the present. These devices serve to understand that the characters are trying to preserve their self-consciousness and illusion that they had in the past. Dope addiction and the drunkeness are hopeless realities of the present and the objects of O'Neill's understanding and forgiveness for his family as well. He might want to reveal a keen sense of loss of connections with God, nature, society, family, and father. In the tragic and hopeless attitudes the retreat toward the past and the desire for self-preservation are revealed by drugs and alcohol. Even if the characters do not succeed in attaining a mystical union or an ideal state of belonging, they search for something outside themselves to which they can belong. It is the life-illusion through which we attempt to escape in the bitterness of the world and of our life in the world. In conclusion, O'Neill explains the tremendous emotional impacts of the characters, and shows the emotion for his family by extracting the universal truth in his particular events of the past with the dramatic devices.

Who`s Afraid of Virginia Woolf ? 의 게임의 양상과 정치적 알레고리 ( The Aspects of Games and the Political Allegory in Who`s Afraid of Virginia Woolf? )

양원옥(Won Ok Yang) 한국드라마학회 1990 드라마 論叢 Vol.- No.3