Eugene O'Neill의 運命論的 過去의 實體 = The Identity of the Past of Eugene O'Neill's Determinism

다국어 초록 (Multilingual Abstract)

Eugene O'Neill(1888-1953), who won the Nobel Prize for Literature in 1936, was a playwright of world-wide fame. Breaking out of the sentimentalism of the American business melodrama of the 19th century, he played a leading role in the modernization of the American drama, by embarking on writing psychological plays dealing mostly with the hidden truths behind the modern tragic life. Though influenced by such trends as naturalism, realism and expressionism-all already experimented in Europe, he finally developed his unique style of expressive realism in his late plays.
The cold materialism of his father, the drug addiction of his mother, the cynical alcholism of his brother, and his own desperate tuberculosis contributed to a vision which was brutally deterministic. On the other hand, the stuff of adventures at sea, gold prospecting, destitute on waterfronts, vast consumption of alchol, abandoment of wife and child, a sucide attempt and tuberculosis reminds us of the stuff of tragedy, screenplay of August Strindberg. In addition to these backgrounds in life. O'Neill from Strindberg gained the vision of what modern drama could be, and from Nietzche the most important literary influence of nihilism.
For 30 years as a dramatist, O'Neill's main work was one to find out New God that dominates the tragic fate of modern man. He himself said: 'I'm always acutely conscious of the Force behind-Fate, God, our biological past creating our present, whatever one calls it.' Here, it is just implied that the past may be the cause of modern man's tragic fate, and it may be God that O'Neill tried to find through life.
O'Neill's protagonists are poetic dreamers forced to opearte in a real world of their own past. Time erodes the grace of human features at it carries the individual future from the source his past innocence ; time is the greatest enemy. And O'Neill is the poet of stasis. The past was promise ; The present is stasis ; the future can only be entropic. His characters are trapped in an unending present. So there is a fundamental change in the rhythm of life in the O'Neill's world. Through the characters retreating into the past, he dramatizes how the past has influenced their sorrows of now in Long Day's Journey Into Night, which is regarded as his most autobiographical play. Throughout the play the hate-love rhythm is evident, and its focus is on which of the

목차 (Table of Contents)

• Ⅰ. 序 論
• Ⅱ. 오닐의 運命的 過去
• Ⅲ. 오닐의 靜的 時間
• Ⅳ. Long Day's Journey into Night의 過去의 實體
• Ⅴ. 結 論