The Everyman’s Pilgrimage: Medieval Allegory and Narrative in Everyman

장금희 한국문학과종교학회 2022 문학과종교 Vol.27 No.2

As a translation of the Dutch play Elckerlijc, Everyman follows the tradition of religious themes and dramatic motifs in the liturgy of the medieval church. The religious features of the morality drama, such as chastity, temptation, repentance, and salvation, are reproduced in Everyman. The play dramatizes Catholic teachings centered on the sacraments and uses biblical texts and doctrines for didactic purposes to share a Christian worldview through a pilgrimage for Everyman’s final journey. Everyman teaches that by relying on grace and doing good deeds in a state of grace, souls can be saved from the sins of the world at the moment of death. This study briefly examines the scope of religious thought at the time in relation to the dramatic purposes and considers how Everyman reflects and reveals the religious discourse of that time. In particular, this study investigates the spiritual self-awareness of the protagonist regarding death and salvation and the diversity of ways in which medieval Catholic doctrine and moral norms operate within religious practices in the final pilgrimage. It also explores the didactic strategy and narratives related to allegorical figures in the religious context of the Middle Ages in England before and after the Reformation.

아놀드 웨스커의 인본주의: 『부엌』에 나타난 자기소외와 소통의 문제

장금희 미래영어영문학회 2015 영어영문학 Vol.20 No.2

This essay aims to explore Arnold Wesker's social humanism highlighting the human need for something of wage labor and the function of culture and art through his first play The Kitchen. The Kitchen portrays the social reality and the uncompromising system of post-capitalist society. In The Kitchen, workers are self-alienated enforcing on their routine lives and they do not even try to communicate with other people. Paradoxically, they are fighting each other for showing themselves their existences. Wesker asserts that the cultural environment and artistic activities for working class are the best way to make them communicate with themselves, to evoke their potentialities and to join the world from which they were alienated and eventually the first phase to improve the quality of life. Wesker's humanist concern is always presented in the direction of poor, indecisive, lonely, and drab workers through his plays. This is basically what Wesker differs from other social dramatists. in this respect, The Kitchen is the best play which shows Wesker's humanistic value.

부조리, 그로테스크: 조 오튼의 작품을 통해 본 1960년대의 모더니티

장금희 현대영미어문학회 2017 현대영미어문학회 춘계학술대회 발표논문집 Vol.2017 No.-

This study aims at exploring the absurdity and grotesqueness in Joe Orton's comedies, The Ruffian on the Stair, Entertaining Mr. Slane and Loot reflecting the dehumanization of 1960's England. As always, through his plays Orton attacks decent social behavior and authority hiding lust, cruelty, perversity, evil and dishonest in modern English society, In The Ruffian on the Stair, Entertaining Mr. Sloane and Loot, Orton reveals the absurdity of hypocritical society and the grotesqueness of human conduct which are terrible, violent, destructive, heartless and indifferent. In doing so, he chooses the topic of murder, death, homosexuality and incest in order to show the reality of perverse and pardonless English society, Also he tries to subvert traditional moral values and social mores representing the standard of modern English society. Accordingly, his plays deliberately mocks the improprieties of authoritative tradition and moral hypocrisy.

조 오튼의 신-풍속 희극에 나타난 메난드로스 희극의 전통과 와해

장금희 현대영미어문학회 2019 현대영미어문학 Vol.37 No.3

. This study aims to explore Joe Orton’s What the Butler Saw by comparing with Menander’s Epitrepontes in terms of Greek tradition of Menandrian ‘New Comedy.’ Particularly, this essay focuses on how Orton invoked the conventions of Menandrian drama related to the action of plot and the comic pattern of mistaken identity through a breakdown of the happy ending using tragic-comic devices. In the play, Orton took Menandrian motif of ‘rape’ as his main plotting. However, unlike Menander, he emphasizes the violent suppression of modern society, which he mocks. Orton’s What the Butler Saw is highly regarded as Ortonresque farce in the mid-sixties with constant twists and turns of Menandrian comic elements involving cross-dressing. Through the action of the play, bizarre and subversive plot devices are used for revealing his attack on the hypocritical morality of contemporary English life. It is argued that he expected nothing from life and was free of society’s values in his time. As usual, he satires institutional mores; moreover, he attempts to deconstruct the bureaucratic authority of established society through the play.

메난드로스 신 희극과 오튼의 신 풍속희극 : 『중재 판정』과 『집사가 본 것은』

장금희 미래영어영문학회 2019 미래영어영문학회 학술대회 자료집 Vol.2019 No.11

Faustus’s Transgression or Self-determination?: Ambivalence of Doctor Faustus

장금희 한국고전중세르네상스영문학회 2021 중세근세영문학 Vol.31 No.3

This study aims to explore how Christopher Marlowe’s Doctor Faustus shows religious attitudes in relation to the Calvinist/anti-Calvinist view through dramatic purposes. Throughout the play, Marlowe himself seems to proposition a more secularized attitude and criticizes religious bias, reflecting contemporary attitudes. The religious discourse of Renaissance England revealed in Doctor Faustus echoes how the society represented the negative aspect of conventional Christianity. Throughout the play, Marlowe presents an anti-hero who is reluctant to submissively be led to victory over evil. Faustus’s struggles against sin and salvation reflect the doctrinal ambiguities and uncertainties of the time in terms of skepticism. The theological framework associated within the predestination-related debate in the play is reflected with a Calvinist attitude as an individual communion with God. However, from an anti-Calvinist view, Doctor Faustus portrays human destiny as self-evaluation and self-determination by free will accompanied with subversion.

‘성애’, ‘폭력’, ‘광기’의 소극: 오튼의 『집사가 본 것은』에 나타난 현대 영국 사회의 신화 해체

장금희 미래영어영문학회 2019 영어영문학 Vol.24 No.2

This study explores Joe Orton’s What the Butler Saw related to the theme of sexuality, violence and madness, which reveals harsh reality of modern English society he attacks. In What the Butler Saw Orton emphasizes nightmarish world through Dr. Prentice’s psychiatric clinic in order to portray mad, sexual and frightening violence of contemporary life. Through the play, Orton subverts the traditional norm and values of modern English society which presents a hypocritical formality. In particular, he satires the authority of institutional mores and deconstructs a modern myth represented by psychiatric doctors who symbolize the inherent madness and violence of bureaucratic authority through the action of the play. For the theatrical devices, Orton takes the convention of bedroom farce combining the comic activity of the traditional farce with the tragic reality of crueler society. In What the Butler Saw Orton accents the aggressive nature of farce which satirizes conventional social and moral code. For this reason, What the Butler Saw is the most play which Orton shows the exaggerated image of chaos, violence, madness and sexuality for reveling trenchant modern English society there is nothing worth concealing.

후기 빅토리아 시대 사회 다윈주의와 우생학적 논쟁: 버나드 쇼의 바바라 소령을 중심으로

장금희 한국영미문화학회 2018 영미문화 Vol.18 No.4

Through the action of Major Barbara, Shaw advocates the improvement of human race and civilization through fabian eugenic socialism in the based on the Galtonian eugenics and social Darwinism in late Victorian period. In the play, Shaw contrasts two ideologies, Barbara’s spiritual institutionalized Christianity with Undershaft’s worldly power to control the conventional society. For the dramatic purpose, Shaw symbolically combines the power of the munitions maker, the intellect of the scholar and the faith of the Salvationist. Shaw seems to believe that the best way of improving the human society can be comprised by effective eugenic agencies regarded Shavian trinities. In relation to the eugenic discourses for social betterment, this essay explores how Shaw’s ideas on social eugenic is perceived in Major Barbara through main characters as spiritual, intellectual and economic agencies in terms of social Darwinism for the progress of the human society. As always, Shaw’s evolutionary agencies are disillusionized from the idealistic faith through the realistic awareness of economic facts, which is manifested in their practices to advance the institutional society Shaw attacked. It is obvious that the significant facts of eugenic socialism/social eugenics based on social Darwinism are promoted by Barbara, Cusins and * Chosun University Undershaft in Major Barbara to maintain a worthy evolution of society and humanity. Through the action of Major Barbara, Shaw advocates the improvement of human race and civilization through fabian eugenic socialism in the based on the Galtonian eugenics and social Darwinism in late Victorian period. In the play, Shaw contrasts two ideologies, Barbara’s spiritual institutionalized Christianity with Undershaft’s worldly power to control the conventional society. For the dramatic purpose, Shaw symbolically combines the power of the munitions maker, the intellect of the scholar and the faith of the Salvationist. Shaw seems to believe that the best way of improving the human society can be comprised by effective eugenic agencies regarded Shavian trinities. In relation to the eugenic discourses for social betterment, this essay explores how Shaw’s ideas on social eugenic is perceived in Major Barbara through main characters as spiritual, intellectual and economic agencies in terms of social Darwinism for the progress of the human society. As always, Shaw’s evolutionary agencies are disillusionized from the idealistic faith through the realistic awareness of economic facts, which is manifested in their practices to advance the institutional society Shaw attacked. It is obvious that the significant facts of eugenic socialism/social eugenics based on social Darwinism are promoted by Barbara, Cusins and Undershaft in Major Barbara to maintain a worthy evolution of society and humanity.

Spirituality and Consciousness in ‘Shavianism’: Science of Imagination

장금희 한국영미문화학회 2012 영미문화 Vol.12 No.3

This article not only examines developments in Bernard Shaw’s scientific and intellectual thinking on evolution and eugenics during the Victorian period comparing these with how his contemporaries reflect changes in thought on the subject and related issues but also explores how Shaw’s ideas on eugenics is perceived in his Back to Methuselah. In the play, Shaw developed the Galtonian eugenic idea of improving the human race with the concept of longevity through his new direction of biological and spiritual imagination rather than the eugenic breeding of the superman. It is a vision of an improved species of long-livers who have pure thoughts and contributes to the Shavian utopia imagined. For the human progress, Shaw’s development of superior human intelligence relates to the scientific concept of eugenic breeding. In this regard, real social progress can be achieved only through every individual’s evolution into god-head. Thus, in Back to Methuselah, Shaw’s vision of human progress can be understood in terms of an exploration of human potentiality attaining godhead and a belief in its possibilities of immortal spirituality by exercise of scientific improvement. Shaw’s Back to Methuselah related to his science of imagination includes metaphysical as well as biological implications based on a concept of longevity with a purpose, an evolutionary appetite. According to Shaw, the life force has not only created man but also inspires man to be creative and to strive towards a higher form of evolution, godhead. Through Back to Methuselah, Shaw looked forward to the evolution of a near-superman, a superman, a super-superman and finally to a state of pure thought in which man would be perfect and free from all his physical impediments. Accordingly, all characters in Back to Methuselah show their metaphysical roles as imaginations of eternal life with understanding of the requirements for real human progress.

디셈버 비: 알란 에이크번의 『마음 속의 여자』에 나타난 극적 아이러니

장금희 현대영미어문학회 2021 현대영미어문학 Vol.39 No.3

This essay aims to analyze the dramatic irony of reality and fantasy in Alan Ayckbourn’s Woman in Mind focusing on the transition of being illogical, which leads to the fantasy world in the mind of Susan, the central character of the play, who experiences mental illness. As a farcical comedy, the play deals with the dark side of human nature by depicting the development of incomprehensive destructiveness of a woman who suffers pain, frustration, and despair trapped in her mental delusion due to the absence of communication among families. Throughout the action of Woman in Mind, it reveals the boredom of the English middle class and the broader societal issues of modern English culture. This essay also explores how Ayckbourn dramatizes the dark and abstract line of consciousness between fantasy and reality through a simultaneous plot line with dramatic devices in order to draw sympathy and laughter from the audience with allegorical and passive elements and without a conventional comic ending.