Tennessee Williams의 The Night of the Iguana 에 나타난 신화적 요소 : 인내와 수용

전용유 순천향대학교 인문과학연구소 1997 순천향 인문과학논총 Vol.4 No.-

Shannon in The Night of the Iguana has none to blame but himself to become a wanderer, resulted in the treachery against God, and is the very personified copy of Orestes, searching his substance between God and himself. It is still fortunate that Hannah has a great contribution to setting up right Shannon's erroneous con-cept of God, who is regarded as a furious being, brutal, merciless, and full of vengeance; and to ultimately bringing tranquility back in his mind. Shannon at first has a very strong denial of God whom he considers to be a 'Senile delinquent' pinning anathema and abhorrence on man, possibly wrongly created by God himself. He on the other hand has found peace in mind, by thinking himself to be an iguana, 'One of God's Creature,' and through incessant dialogs with Hannah. He also gains somewhat Hindu spiritual serenity through the preference of having poppy tea, but finally becomes merely Maxine's sex partner leaving his will or mental investigation behind unaccomplished. Shannon settles down at Costa Verde abandoning the mental probation, leading him to the immeasurable pain. Shannon's forsaking any effort to inspect the inner world of human beings and choosing a physical and material life can be seen through symbolized Orestes and Iguana. Williams offers, by means of Christian and Hindu mythologies, some suggestions about the mortal's fundamental problems - isolation, atheism, and death. He seems to endeavor to prepare for the audience some opportunity to find out a desir-able clue to the social problems at that time, instead of indicating some hints of his own. It seems proper and appropriate that he adapts a mythological method in order to realize this goal. Consequently Williams must be estimated as such a playwright who suggests, by applying an ancient myth to the current social circumstances, a true humanness to promise the eternal suvival in the corrupted society full of a desire for material gain, and introduces a far more purified one.

Suddenly Last Summer에 나타난 신화적 특징 : 위선과 정의를 중심으로

전용유 順天鄕大學校 人文科學硏究所 1998 순천향 인문과학논총 Vol.6 No.-

Poet Sebastian in Suddenly Last Summer has a characteristic seeking after the configurations of gods. Sebastian is Adonis living a life under the protection of Aphrodite, and consanguineous-incest-like love with Mrs. Venable led him to an abnormal relation with others. He found a picture of himself through the cruelty of gods detected in Encantadas Island. Sebastian, seeking some ways of atonement, let his body be torn by the boys who he had given maltreatment; which had some tint of the vicarious sacrifice of Christ. In Suddenly Last Summer, Sebastian in Christian myth is expressed to be related to Adonis in Greek myth. Although Sebastian, raised under his mother's overprotection, was absorbed in everything he tried, he was described as an individual of duplicity, a sexual pervert with internal conflict, This is a plot like a three-concerned relation with Aphrodite and Fersephone; and he, later captured by malice, made himself its sacrifice by transferring the concept of malice to that of gods. Mrs. Venable's trial to have Catherine undergo lobotomy is considered to be dismemberment, and Mrs. Venable's violent conciliation could be presumed to be an indication for the victory of Catherine's conscience to be granted. Mrs. Venable, Sebastian's mother, regarded her son's death such as in cannibalism, in which starving natives atc his flesh, as the martyrdom, figured the relation with her son as the life of the Goddess and Priestess, and took a metaphorical description on Attis-Cybele, plantation god, blessing the repetition of resuscitation and regeneration. Williams, through Christian and Greek myth, showed a roundabout description of the human's basic problems so called solitude, violence, justice, hypocrisy, and consciousness. He himself did not so much endeavor to find some clues of the problems the society at that time bore, as let his readers or audience find solutions themselves. Since Williams for this purpose took the mythological writing technique in his works, he ought to be estimated such a playwriter as made an unexhausted effort to set up the triangular-positioned human nature escaping from decayed and corrupted materialism prevailing the society those days.

『귀여운 젊음의 새』에 나타난 절망의 신화

전용유 남서울대학교 인문사회과학연구센터 2001 인문사회연구 Vol.3 No.-

Tennessee Williams´ plays are, by using his unique mythical technique, the depiction of conflicts and despair in the American south, which was suffering devastating effects after the defeat in the Civil War. Williams uses his myth, Chance, to recall the of the drama. The theme is human purity maintained in a depraved world. Chance is dichotomous, being the Christ and anti-christ simultaneously. His sacrifice reconciles sin and achieves pureness. However, because Chance is dually a faithful Christian and heretic (Priapus and Attis), his discrepancy can not be easily resolved. Showing peace and pureness of mind allows him to display the extreme antithesis, violence and sadism. Williams makes him a protagonist sacrifice enduring dismemberment, castration, and immolation. Williams challenges readers with a question about the violent and fatal problems of the America south.

「에쿠우스」에 나타난 개인과 사회의 갈등

전용유 남서울대학교 인문사회과학연구센터 2003 인문사회연구 Vol.5 No.-

The purpose of this study is to survey the conflicts represented by the characters in Equss. Peter Shaffer deals with the conflicts concerned with human being's existence in his plays. The conflicts stem from modern civilization, the decay of the religion, and lack of communication among men. The gap of generation and different cultures with different languages result into the absence of the communication in homes, societies, and cultures. The characters are despotic and oppressed, religious and atheistic, self-confident and insecure, or painfully and benignly false. Shaffer depicts these conflicts in three aspects; individual vs society, human being vs God, and id vs superego. An electrifying journey into the mind of a 17-year-old stable boy who has plunged a spike into the eyes of six horses is sketched in Equss. Shaffer represents the conflicts between individual and society by the characters, Alan and Dysart in Equss. Shaffer argues that the institutions be destructive factors to individuals. Institutions such as government, army, religion are originally grouped for men's convenience but they have gradually obstructed men's creativity and other capabilities. Shaffer presents basic conflicts between two opposing forces through his characters. The opposing forces coexist in self and life and cause tensions, which are fundamentally harmonized or subordinate to each other. The conflicts between Alan and Dysart have been not solved at all. The protagonist, Dysart and the antagonist, Alan who represent the opposing forces can not become unified in reality. In Shaffer's plays, the antagoniststs are finally destroyed or killed, but Shaffer never loses his optimistic view in his plays. In spite of the ruin of the antagonists, the protagonists have realized their unhappy conditions. They have had sympathy with with the antagonists. Shaffer demonstrates a firm affirmation of love and human understanding by the conflicts among the characters in his plays.

Tennessee Willianms의 The Night of the Iguana에 나타난 신화적 요소 : 인내와 수용

전용유 순천향대학교 인문과학연구소 1997 순천향 인문과학논총 Vol.4 No.-

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영어 부정접두사에 관하여

성태수,전용유 남서울대학교 2004 남서울대학교 논문집 Vol.10 No.3

Affixation of negative prefixes to a root or word derives a negative opposition of the original root or words. In case un-, dis- and de- are affixed to denominal verbs, privative oppositions are derived, and in case the prefixes are affixed to original verbs, reversative oppositions are derived. Generally, in-, non-, and a- are affixed to either nouns or adjectives, un- and dis- are affixed to nouns, adjectives, and verbs; de- is affixed to nouns or denominal verbs ending -ize and -fy. When prefix in- is affixed to a word, /n/ is assimilated to the initial sound of the word. This is from Latin but not English, and was applied to in-words before they were loaned from English. It must be pointed out that a diachronic approach will provide more descriptive power in analyzing English negative prefixes. They also claim that in the same context, in- is applied to level-1, un- is applied to level 2, and dis- is applied to both level 1 and level 2. The affixes which are affixed in level 2 are more productive and more meaningful. Though they didn't point out, the words combining with the level-1 affixes are originated from Latin or French, the words combining with the level-2 affixes are from Old English. However, some affixes are affixed to the bases and words in level 1 as well as in level 2. These affixes are usually Latin-based or French-based ones, They are affixed to OE-based words. The derivatives of Latin-based prefix plus OE-based word are as productive as the ones derived in level 2. Conversely, when some OE-based affixes can be affixed to Latin-based and French-based words, Ordering paradox might occur like in ungrammaticality. This means that a loan word is transferred to other languages in the finalized form, after it undergoes the phonological derivations of its original language. The two kinds of negation--negation by affixation of negative prefix to a word and syntactic negation--have the semantic interface with each other, but are not completely analogous semantically. Moreover, there is a difference among negative prefixes in implying either contrary negation or contradictory negation. When un-, dis- and de- are affixed to verbs, also, the derivatives have privative or reversative meaning.