권력, 주이상스, 페미니스트 서사: 『내가 배운 운전법』의 공간을 중심으로
Power, Jouissance, and Feminist Narrative: Focused on Space in How I learned To Drive.
0
조회
0
다운로드
1
인용
0
참고문헌
키워드
초록
This paper analyzes ‘Space’ in How I learned To Drive by Paula Vogel, from the perspectives of the power, Jouissance, and feminist narratives, based on Lacan’s concepts. The main space is the vehicle, where Li’l Bit, an 11-year-old girl, learns to drive from Peck, aunt’s husband. This man performed sexual harassment on Li’l Bit. Peck controls Li’l Bit in the closed vehicle space which is operated by power structure. Peck is ‘subject supposed to know’, Lacan’s psychoanalytic concept, which means, through the transference Peck as analyst, exercises his power over Li’l Bit as analysand. As Li’l Bit grows older and can drive a car, however, she realizes he is not ‘subject to know’ and the power structure is reversed through the counter-transference. The vehicle acts as the space of Jouissance, in which Peck pursues to achieve an erotic ecstasy beyond the pleasure principle. Peck’s basement studio is also the space of Jouissance, where Peck takes a picture of Li’l Bit and enjoys taking peeps at her body. It is in the kitchen where Li’l Bit, her mother, and her grandmother share their opinions and reveal their voices against men. This serves a function of space of feminist’s narratives.
Abstract
This paper analyzes ‘Space’ in How I learned To Drive by Paula Vogel, from the perspectives of the power, Jouissance, and feminist narratives, based on Lacan’s concepts. The main space is the vehicle, where Li’l Bit, an 11-year-old girl, learns to drive from Peck, aunt’s husband. This man performed sexual harassment on Li’l Bit. Peck controls Li’l Bit in the closed vehicle space which is operated by power structure. Peck is ‘subject supposed to know’, Lacan’s psychoanalytic concept, which means, through the transference Peck as analyst, exercises his power over Li’l Bit as analysand. As Li’l Bit grows older and can drive a car, however, she realizes he is not ‘subject to know’ and the power structure is reversed through the counter-transference. The vehicle acts as the space of Jouissance, in which Peck pursues to achieve an erotic ecstasy beyond the pleasure principle. Peck’s basement studio is also the space of Jouissance, where Peck takes a picture of Li’l Bit and enjoys taking peeps at her body. It is in the kitchen where Li’l Bit, her mother, and her grandmother share their opinions and reveal their voices against men. This serves a function of space of feminist’s narratives.
참고문헌 (20)
- Barthes, Roland, "An Introduction to the Structural Analysis of Narrative", On Narrative and Narratives, 6(2), pp.237~272 (1975)
- Bigsby, Christopher, "Contemporary American Playwrights" (2000), Cambridge UP
- 부르디외, 삐에르, "구별짓기: 문화와 취향의 사회학 上" (2005), 새물결
- de Lauretis, Teresa, "Alice Doesn’t" (1984), Bloomington
- 고든, 콜린, "권력과 지식" (1991), 나남
- Giddens, Anthony, "The Nation-State and Violence : Volume Two of A Contemporary Critique of Historical Materialism" (1985), Polity P
- Griffiths, Jennifer, "Sympathy for the Devil : Resiliency and Victim-Perpetrator Dynamics in Paula Vogel’s How I learned to drive", Contemporary Women’s Writing, 7(1), pp.92~110 (2013)
- 호머, 숀, "라캉 읽기" (2006), 은행나무
- Hubert-Leibler, Pascale, "David Mamet: A Casebook", pp.69~86 (1992), Garland
- 김혜정, "모호함의 정치: 폴라 보글의 『내가 운전을 배운 법』을 중심으로", 영어영문학연구, 54(2), pp.81~102 (2012), 한국중앙영어영문학회[DOI]
- 고득임, "『운전 배우기』와 『롤리타』: 소아성애자의 도덕적 성장", 영어영문학연구, 57(2), pp.47~68 (2015), 한국중앙영어영문학회[DOI]
- Lacan, Jacques, "The Four Fundamental Concepts of Psycho-Analysis" (1977), Hogarth P and Institute of Psychoanalysis
- Lacan, Jacques, "Book VII: The Ethics of Psychoanalysis" (1992), Routledge
- 박경란, "기억극", 유방극(Memory, 영어영문학, pp.2015, 20(1)[DOI]
- 신지숙, "『내가 운전을 배운 방법』에 나타난 탈주의 미학: 파편화와 통합의 대위법", 영미어문학, (118), pp.219~238 (2015), 한국영미어문학회
- "Paula Vogel: The Signature Season" (2004)[URL]
- Saddik, Annette J., "Contemporary American Drama" (2007), Edinburgh UP
- Stanley, N. J, "Staging a Cultural Paradigm: The Political and the Personal in American Drama", pp.357~373 (2002), P.I.E.-Peter Lang
- Vogel, Paula, "How I Learned To Drive. The Mammary Plays", pp.1~92 (1998), Theatre Communications Group