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린 노티지의 극에 나타난 코스모폴리타니즘 철학: Intimate Apparel, Las Meninas, Fabulation, Ruined, Sweat을 중심으로
전연희 한국현대영미드라마학회 2019 현대영미드라마 Vol.32 No.2
This paper aims at exploring the philosophy of cosmopolitanism in the five representative plays of Lynn Nottage, Intimate Apparel, Las Meninas, Fabulation, Ruined, and Sweat. The discussion on the philosophy of cosmopolitanism in these plays reveals “we” consciousness which includes diversity, flexibility, and generosity beyond region, national boundary, race, class and leads expansion of theatrical territory intersected with macrocosm and microcosm. In Ruined which exposes cosmopolitan ethics and world citizenship Nottage suggests the direction of community and practice of the original announcement of “I am the world citizen.” In Fabulation and Sweat, Nottage shows the justified attribute of ‘Gemeinschaft’ of cosmopolitan society. Finally, Intimate Apparel and Las Meninas indicate the recovery of the subjection of subaltern and Weltburgerrecht. This is an attempt to persue the reconciliation of humanity indicating the crisis of “we” consciousness and practice Kant’s idea of cosmopolitan global community which includes recognition, respect, open-mindedness, beneficence to the ‘others’ sharing humanitarian perspectives as a world citizen. The aesthetics of cosmopolitanism which applied in specific dramatic methodology in each play along with the common issues including ‘otherness’, ‘humanity’, ‘reconciliation’, and practicability of the cosmopolitan ideals anticipates Nottage’s infinite potential power as a playwright. Thus, Nottage’s theatrical works which have gotten attention from theatrical territory as well as politics for these reasons suggest the alternatives and direction of 21st American Theatre. ,
History Matters: Digging a hole in Suzan-Lori Parks’ Venus
전연희 대한영어영문학회 2007 영어영문학연구 Vol.33 No.1
Chun, Yon-hee. “History Matters: Digging a Hole in Suzan-Lori Parks’ Venus.” Studies on English Language & Literature. 33.1(2007): 43-64. The winner of Pulitzer Prize for Drama, Suzan-Lori Parks’ Venus, one of the controversial plays in terms of theme and dramatic technique. Parks has tenaciously clung to the project of unearthing a hidden history concerning Blacks. In Venus, Parks calls, resurrects African woman Saartijie Baartman who has been on the public display in London and Paris under the name of ‘The Venus Hottentot’ and rewrites her distorted history. Parks bestows upon Baartman a new version of life and challenges the reader with the proposition that the sense of subaltern subjectivity is recoverable. The aim of Parks’ specific dramatic invention is to help the audience to tell the disparity between white goddess ‘The Venus’ and the Black slave ‘The Venus Hottentot’. Among her multiple dramatic elements, a strategy of alienation that foregrounds the gaze of the colonizer/audience is the most formidable contrivance. This unconventional narration interrupts the romantic relationship and awakens power politics. Parks’ reversal of white male ideology is pursued in the play within the play. Through the strategic historicism, Parks encourages audiences to consider the repression of black female body and multifaceted expression of seduction and victimization. She widens her concern on Black history to the universal level, portraying the human condition transcending spatial and time limits.