연극의 경제구조에서의 여성의 역할 : (핀터의 여성주체) (A Female Subject in Pinter) = The Function of Woman in the Theatrical Economy

다국어 초록 (Multilingual Abstract)

The Pinter criticism industry under the powerful influence of the orthodox Pinter critic Martin Esslin has persuaded us too see a Pinter work, especially. The Homecoming, a typical play of oedipal scenario, although his work performs two plays, i.e., oedipal and anti-oedipal scenarios at the same time. This paper seeks for a new way of seeing Harold Pinter's. The homecoming by appropriating psychoanalytic theories, focusing on the close interrelationship between psychoanalysis and theater, for the use of the "subversive potential of performance (theatricality)" of psychoanalytic theory in order to retrieve the repressed anti-oedipa! scenario. This method parallels psychoanalytic feminists' way to subvert the male sexual economy supported by psychoanalytic theories. Thus this paper applies the conceptions of some feminists in analyzing. The Homecoming: those of Luce lrigaray's (female) sexual economy, Jane Gallop's prostitute in the major mode, and Judith Butler's masquerade.
Most critics reveal their oedipal desires in handling Pinter's woman character Ruth in The Homecoming. In performing their criticisms. unexpectedly she becomes a powerful woman who can subvert the frames of the critical texts based upon the male sexual economy which makes women consume themselves as commodities for exchanges between men, i.e., for men's oedipal relationships. Thus, as we can see in the case of Esslin, to satisfy Esslin's desire for a complete critical writing on The Homecoming as a perfect oedipal scenario, Ruth must become a passive object of male desires, i.e., a prostitute again in his critical text. But this paper argues that Ruth cannot be fixed as a passive object of desire for the oedipal scenario and she can become a strong and active character for the anti-oedipal scenario by performing a prostitute in the major mode, in other words, by masquerading or prostituting the identities of mother/wife/prostitute. In conclusion, from a new way to see Pinter proposed in this paper, it can be said that Pinter's great achievement lies not in synthesizing the two plays of oedipal and anti-oedipal scenarios according to his oedipal desire but in presenting the two on the stage by using the subversive potential of theatricality.

목차 (Table of Contents)

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• 인용문헌
• Abstract