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- 저자 : 정문영 ( Moon Young Chung ) (검색결과 34 건)
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정문영 ( Moon Young Chung ) 한국영미문학페미니즘학회 2014 영미문학페미니즘 Vol.22 No.2
This essay aims to read Margaret Edson’s W;t as a new academic, medical, and feminist drama in the age of technoscience by focusing on the performativity of a female professor’s body dying of advanced ovarian cancer in a university hospital. In this technoscientific age, the issues of females, especially their disabled dying bodies, are taken up as things related not just to sexual politics but to technoscientific biopolitics. Thus, this paper explores subversive possibilities of the perfomativity of a medicalized female body under the control of technoscientific biopolitics in the institutional spaces of the hospital and the university. W;t foregrounds the dying woman Vivian Bearing’s dramatic performance of commenting ironically on the performativity of her body in her own language of literary “wit” to fight against the medical “wit” of Dr. Harvey Kelekian and his student Jason Posner and against the suffering and fear of her impending death. But gradually this play reveals that the witless nurse, Susie Monahan, the most marginalized character, i.e., a “minor” character, is the hero of the play. Susie is Vivian’s most needed company as she lies dying, and she can help Vivian find a line of flight from the closed system of biopolitical control over her dying body and a line of light towards redemption and grace. Thus W;t can be regarded as a new feminist academic medical drama, a minor literature.
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T. S. 엘리엇의 운문극 다시 보기 - 『 비서 』와 『 원로 정치인 』
정문영(Moon Young Chung) 한국영미문학페미니즘학회 2000 영미문학페미니즘 Vol.8 No.1
The Confidential Clerk and The Elder Statesman are Eliot`s last two works which conclude a series of verse drama written during his life time. He had insisted that the bonds of woman have to be dissolved for the salvation of the protagonist`s soul because she embodied the danger of man`s own sensory desire. But in the last two plays, especially the final play Eliot surprisingly presents a new view of woman which is very different from the denial of the love of women in his first verse drama of Sweeny Agonistes. This seemingly abrupt change which is neither sudden nor inexplicable makes us re-view Eliot`s verse drama. Eliot and his critics have consciously tried to reduce his play to the Oedipal scenario by disregarding the gaps within the texts which lead to the another stage of anti-Oedipal scenario, i.e., the Other Scene of the unconscious of the text. But Eliot in his last plays comes to bring back the repressed women in his life and in his texts on the stage, while re-viewing his accomplishments of verse drama. The critical reviews on the two plays are divided into the two extremely opposite evaluations according to ways to handle the gaps within the texts. we can find the appropriate perspective of evaluating two plays and the whole accomplishments of Eliot`s verse drama by focusing on and analyzing the gaps, instead of compromising and assimilating them into the Oedipal scenario. For this perspective which can see the gaps within the text, Deleuze and Gattari`s familism and anti-Oedipus and Lacan`s reading of Hamlet can be appropriated. From this perspective The two plays can be regarded as parodies of both verse drama and prose drama. Eliot appropriates certain aspects of the high-comedy (prose drama) tradition (the plot of the foundling child), and he also appropriates conventions of classical verse drama, for example, the adequate use of ritual and myth as a paradigm for his theatre which anticipates a postmodern experimental theatre. In this light, we can evaluate Eliot`s verse drama in terms of the history of modern theatre, by Finding out techniques and themes that foreshadow those of our contemporary leading dramatists.
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정문영 ( Moon Young Chung ) 한국영미문학페미니즘학회 2009 영미문학페미니즘 Vol.17 No.1
This essay attempts to search for a prospective feminist discourse of new reproductive technologies in the 21st century of technoscience, by examining diverse feminist interventions engaged in discourses of reproductive politics and new reproductive technologies influencing and contesting each other. In the technoscientific age, reproduction issues are taken up not just as sexual politics but as the conquest of the last frontier of masculinist technology and post-industrial capitalistic politics. New reproductive technologies which are inextricably linked with genetic engineering and engenics are developed and contested within broader technoscientific cultural and social networks. Women therefore need to address new reproductive technologies with a new feminist sensibility and technoscientific politics which can address the dramatic crises and challenges of the new era. Radical feminists or eco-feminists often overlook the subversive possibilities of feminist technopolitics for destablizing patriarchal structures, dismissing technoscience as inherently patriarchal and malignant. But new reproductive technologies also introduce new possibilities for disruption and resistance. Haraway`s cyborg feminism has stimulated optimistic insights into feminist technopolitics by appropriating cyborg politics. This essay examines and incorporates the most complex and urgent discourses of the technoscientific age, searching for a new praxis of the female body in regard to new reproductive technologies and feminist technopolitics.
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정문영 ( Moon Young Chung ) 한국영어영문학회 2012 영어 영문학 Vol.58 No.1
Marina Carr`s By the Bog of Cats... (1998) is the last play of the trilogy of "the midlands plays" which can be regarded as her re-writing of both Euripides` Medea and J. M. Synge`s The Playboy of the Western World by resetting the two plays in the midlands of contemporary Ireland. Carr intends to courageously explore into the dangerous liminal space, i.e., the middle between the past and the present, the high Greek and the Irish folk culture, dealing with the ghosts of the dead writers for her own Irish feminist theatre. Thus, in the middle Carr can build a new Irish theatre by minorating and abjecting the Greek tragedy and subverting and expanding Synge`s theatre of grotesque realism. This paper attempts to read By the Bog of Cats. . . as Carr`s final project of exploration into the midland of Ireland to establish a new Irish feminist theatre and at the same time a new Irish folk theatre. By focusing on her strategies of minoration and subversion through grotesque imagery and carnival rituals it argues that Carr put Hester`s becoming-ghost in the middle, the bog of the cats as both grave and womb, waiting for the birth of a new Irish people. And it emphasizes that the ghost of Hester, merging with the ghosts of her mother and daughter by the bog of cats will haunt the official society as a threatening abjection, challenging the restoration of the social order.
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정문영 ( Moon Young Chung ) 한국영미문학페미니즘학회 2008 영미문학페미니즘 Vol.16 No.1
Marina Carr, one of the foremost contemporary Irish woman playwrights, came to create her own distinctive dramatic world with her second phase of writing known as the midlands plays. The Mai (1994), the first play of the trilogy of the midlands plays, marks a complete change from her first plays of playful satirical feminism strongly influenced by Beckettian absurd theatre. Carr`s midlands are created through a re-appropriation of patriarchal tragedy. The Mai is Carr`s subversive retelling of Electra. Her recasting of Greek tragedy in terms of contemporary Ireland marks her strategy to appropriate traditional tragedy for her own writing as a challenge and alternative to the male-dominated dramatic world of Irish playwriting. The midlands of her dramatic world can be understood in terms of Deleuze`s theorization of the middle (milieu) where becomings or writing for lines of flight, are taking place. This essay reads The Mai as Carr`s attempt to write for lines of flight for a new Irish theatre through re-writing traditional tragedy, by becoming-woman [playwright] in her own created dramatic world of the midlands.
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정문영 ( Moon Young Chung ) 영미문학연구회 2015 영미문학연구 Vol.28 No.-
This paper attempts to read the 2007 Sleuth as Harold Pinter``s last screen-play which provides both series of plays and screenplays with the ending where we can start a new play with Pinter again. The 2007 Sleuth by Pinter and Kenneth Branagh is a remake of the 1972 film by Joseph Mankicwicz that itself was based on the 1970 play by Anthony Shaffer. Arguing that Pinter purposedly plays his endgame not as a master playwright but as a hired screenplay writer. this paper examines his uses of intennediality which he can find with PintCfcsquc camera eye equipped through a series of his unfaithful adaptations. Shaffer``s Sleuth which dramatizes the detective world can be classified as a comedy of menace which subverts the paradigm of comedy of manners by violent games between the classes. Mankiewicz``s Slellth (1972) which accentuates the class connie! between the two male protagonists can be regarded as a faithful adapatation of the original play. Mankiewicz wanted to use intermediality by opening and dosing the film with theatrical settings of Andrew``s detective fiction, to treat his favorite theme of homosexuality, and to introduce the absent woman in the original with her visual references in his adaptation. But the 1972 Sleuth did not fully reneet Mankicwiez``s intentions. Th.is paper argues thai Pinier``s last screen-play can fulfill Mankiewiez``s missions in the 2007 Sfeulh as n remake of the earlier film and a successful and unfaithful adaptation of Shaffer``s original play. That is, Pinter can emphasize intennediality by subverting his earlier comedy of menace into the comedy of bad manners, treat the theme of homosexuality, and especially make the return of the repressed possible with drastic change of the ending. Thus this paper concludes that Pinter played his endgrune successfully in his adaptation as a hired screenplay writer. although other critics have regarded the 2007 Sleuth as a failed attempt to put ShafTer``s play on the screen and blamed Pinter for its failure.
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