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마샤 노먼의 『잘 자요, 엄마』 연구: 모녀관계를 통해 본 여주인공의 정체성 찾기

A Study of Marsha Norman’s ’night Mother: The Pursuit of Heroine’s Self-Identity through Mother-Daughter Relationship

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The purpose of this dissertation is to analyze how the pursuit of heroine’s self-identity is depicted in Marsha Norman’s ’night, Mother. ’night, Mother is a tense dramatization of the relationship between a mother and her daughter, who is moving towards suicide. Jessie comes to find her identity in three stages. First, Jessie has no her identity. Second, Jessie comes to recognize her identity. Finally, Jessie gets her identity. During Jessie experiences these stages, absent men play a negative role. Jessie has suffered a series of personal losses and inherited epilepsy from her dead father, which gives her an imaginary world. Her epilepsy has had a debilitating effect on her life and has rendered her freakish. Above all, Jessie feels an impulse of suicide because of her father’s suicide without saying any good bye. Cecil, Ricky, and Dawson gave her disappointment, unhappiness. Even King, her dog, which ran under a tractor and was killed gives her sense of loss. At the close of the drama is Jessie overcome by hopelessness, and her search leads her to the only choice remaining: suicide. It means that she gets feminine identity and female autonomy.

Abstract

The purpose of this dissertation is to analyze how the pursuit of heroine’s self-identity is depicted in Marsha Norman’s ’night, Mother. ’night, Mother is a tense dramatization of the relationship between a mother and her daughter, who is moving towards suicide. Jessie comes to find her identity in three stages. First, Jessie has no her identity. Second, Jessie comes to recognize her identity. Finally, Jessie gets her identity. During Jessie experiences these stages, absent men play a negative role. Jessie has suffered a series of personal losses and inherited epilepsy from her dead father, which gives her an imaginary world. Her epilepsy has had a debilitating effect on her life and has rendered her freakish. Above all, Jessie feels an impulse of suicide because of her father’s suicide without saying any good bye. Cecil, Ricky, and Dawson gave her disappointment, unhappiness. Even King, her dog, which ran under a tractor and was killed gives her sense of loss. At the close of the drama is Jessie overcome by hopelessness, and her search leads her to the only choice remaining: suicide. It means that she gets feminine identity and female autonomy.

참고문헌 (16)

  1. 여성을 위한 모임, "일곱 가지 콤플렉스" (1992), 현암사
  2. Bloom, Clive, "American Drama" (1995), Macmillan Press Ltd.
  3. Brown, Janet, "Feminist Drama: Definition and Critical Analysis" (1979), The Scarecrow Press Inc.
  4. Brown, Linda Ginter, "Marsha Norman" (1996), Garland Publishing, Inc.
  5. Brown, Linda Ginter, "Toward a More Cohesive Self: Women in the Works of Lillian Hellman and Marsha Norman" (1991), The Ohio State University
  6. Brustein, Robert, "Tragedy from the Daily Routine" (1983), The New Public
  7. Frank Rich, "Theatre:Suicide Talk in ’night,Mother", The New York Times (1983)
  8. Hart, Lynda, "Doing Time: Hunger for Power in Marsha Norman’s Plays", Southern Quarterly, 25, pp.66~79 (1987)
  9. John Simon, "Journey into Night", New York Magazine (1983)
  10. Keyssar, Helene, "Feminist Theatre" (1984), Macmillan
  11. Morrow, Laura, "Orality and Identity in ’night Mother and Crimes of the Heart", Studies in American Drama, 3 (1989)
  12. Nancy Chodorow, "The Reproduction of Mothering: Psychoanalysis and the Sociology of Gender" (1978), University of California Press
  13. Norman, Marsha, "night, Mother" (1995), Hill and Wang
  14. Rich, Adrienne, "Of Woman Born" (1986), W. W Norton & Company
  15. Rosefeldt, Paul, "The Romance of the Dead Father in : The Absent Father in Modern Drama" (1995), Peter Lang
  16. Spencer, Jenny S., "Marsha Norman’s She-tragedies in : Making a Spectacle" (1989), Michigan Press

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