RISS 학술연구정보서비스

검색

인기 검색어

    다국어 입력

    http://chineseinput.net/에서 pinyin(병음)방식으로 중국어를 변환할 수 있습니다.

    변환된 중국어를 복사하여 사용하시면 됩니다.

    예시)
    • 中文 을 입력하시려면 zhongwen을 입력하시고 space를누르시면됩니다.
    • 北京 을 입력하시려면 beijing을 입력하시고 space를 누르시면 됩니다.
    닫기

    The Birthday Party에 나타난 언어의 폭력성 = Language Aggression in The Birthday Party

    한글로보기

    https://www.riss.kr/link?id=A2051443

    • 0

      상세조회
    • 0

      다운로드
    서지정보 열기
    • 내보내기
    • 내책장담기
    • 공유하기
    • 오류접수
    인용문이 복사되었습니다.

    부가정보

    다국어 초록 (Multilingual Abstract) kakao i 다국어 번역

    One of the primary concern of the playwrights who emerged since World War Ⅱ is the relationship between man and his language. In the plays of Eugene Ionesco, Harold Pinter, Edward Bond, Edward Albee, David Mamet, and Sam Shepard, we can find that language is not only a tool of dramatic expression but the central action or a powerful character who destroys the other characters of forces them into conformity. Therefore, in these plays, language seems to be in the cneter of our concerns.
    In The Bithday Party Pinter draws our attention ot so much to what is being said, as to the form of speech. He focuses on a distinctive usage of language as a form of aggression. He dramatizes dramatic violence through a few speech patterns of Goldberg and McCann : the use of stichomythia which transposes the dialogue into a derealised chant whose hypnotic effect makes Stanley to lose language, the use of jargon which forces Stanley to give up any response to their verbal agression, and 'name-game' in which name-calling functions as a domineering power rather than a symbol of man's identity. With the power of language only they attempt to control and shape Stanley's mind, to gain power over his thoughts. This means Stanley's total conversion into the mold of his torturers, Goldberg and McCann who speak for, in the voice of, a ruling social or political discourse.
    Therfore one of ironic facts found in Pinter's plays is that language is still alive as a form of manipulating and domineering power even though its referential function is almost not working. But we have to answer one question : Is it possible to criticise the danger of language through language? Pinter solves this problem by making a dramatic device to objectify language. Goldberg and McCann seem to be realistic characters. But their primary function in this paly i to show the destructive power of language. Through the characterization of them Pinter dramatizes all the negative power of language which we experience in our daily life.
    번역하기

    One of the primary concern of the playwrights who emerged since World War Ⅱ is the relationship between man and his language. In the plays of Eugene Ionesco, Harold Pinter, Edward Bond, Edward Albee, David Mamet, and Sam Shepard, we can find that la...

    One of the primary concern of the playwrights who emerged since World War Ⅱ is the relationship between man and his language. In the plays of Eugene Ionesco, Harold Pinter, Edward Bond, Edward Albee, David Mamet, and Sam Shepard, we can find that language is not only a tool of dramatic expression but the central action or a powerful character who destroys the other characters of forces them into conformity. Therefore, in these plays, language seems to be in the cneter of our concerns.
    In The Bithday Party Pinter draws our attention ot so much to what is being said, as to the form of speech. He focuses on a distinctive usage of language as a form of aggression. He dramatizes dramatic violence through a few speech patterns of Goldberg and McCann : the use of stichomythia which transposes the dialogue into a derealised chant whose hypnotic effect makes Stanley to lose language, the use of jargon which forces Stanley to give up any response to their verbal agression, and 'name-game' in which name-calling functions as a domineering power rather than a symbol of man's identity. With the power of language only they attempt to control and shape Stanley's mind, to gain power over his thoughts. This means Stanley's total conversion into the mold of his torturers, Goldberg and McCann who speak for, in the voice of, a ruling social or political discourse.
    Therfore one of ironic facts found in Pinter's plays is that language is still alive as a form of manipulating and domineering power even though its referential function is almost not working. But we have to answer one question : Is it possible to criticise the danger of language through language? Pinter solves this problem by making a dramatic device to objectify language. Goldberg and McCann seem to be realistic characters. But their primary function in this paly i to show the destructive power of language. Through the characterization of them Pinter dramatizes all the negative power of language which we experience in our daily life.

    더보기

    목차 (Table of Contents)

    • Ⅰ. 들어가며
    • Ⅱ. 폭력적 언어의 형식
    • Ⅲ. 언어적 폭력의 실제
    • Ⅳ. 맺으면서
    • Bibliography
    • Ⅰ. 들어가며
    • Ⅱ. 폭력적 언어의 형식
    • Ⅲ. 언어적 폭력의 실제
    • Ⅳ. 맺으면서
    • Bibliography
    • Summary
    더보기

    동일학술지(권/호) 다른 논문

    분석정보

    View

    상세정보조회

    0

    Usage

    원문다운로드

    0

    대출신청

    0

    복사신청

    0

    EDDS신청

    0

    동일 주제 내 활용도 TOP

    더보기

    주제

    연도별 연구동향

    연도별 활용동향

    연관논문

    연구자 네트워크맵

    공동연구자 (7)

    유사연구자 (20) 활용도상위20명

    이 자료와 함께 이용한 RISS 자료

    나만을 위한 추천자료

    해외이동버튼