매밋의 「암호」 속의 “암호” 해독
Decoding Cryptogram
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참고문헌
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초록
The Cryptogram is highly autobiographical and is often referred to Mamet’s own Long Day’s Journey into Night. Coupled with the night-time scene, it signals an intimate night journey inherently dangerous and painful. Coupled with Mamet’s traumatic childhood, the meaning of the play has been predominantly negative. The image of the boy holding the knife heading up to the attic where all kinds of betrayals reside has been the focal point of contention. And also the 「indeterminacy of the play’s resolution has exasperated audiences and critics alike. I think the boy’s gesture foreshadows the life of the playwright, who learned to turn aggression into art. The knife became a pen. What I am arguing in this paper is that, if properly decoded, The Cryptogram ultimately shows, as Mamet so lucidly and consistently addresses in his prose works, the possibility of community and trust. Through the exceptionally precocious and smart protagonist John, Mamet’s alter ego, Mamet suggests what has been lost and what needs to be regained both in individual lives and in society
Abstract
The Cryptogram is highly autobiographical and is often referred to Mamet’s own Long Day’s Journey into Night. Coupled with the night-time scene, it signals an intimate night journey inherently dangerous and painful. Coupled with Mamet’s traumatic childhood, the meaning of the play has been predominantly negative. The image of the boy holding the knife heading up to the attic where all kinds of betrayals reside has been the focal point of contention. And also the 「indeterminacy of the play’s resolution has exasperated audiences and critics alike. I think the boy’s gesture foreshadows the life of the playwright, who learned to turn aggression into art. The knife became a pen. What I am arguing in this paper is that, if properly decoded, The Cryptogram ultimately shows, as Mamet so lucidly and consistently addresses in his prose works, the possibility of community and trust. Through the exceptionally precocious and smart protagonist John, Mamet’s alter ego, Mamet suggests what has been lost and what needs to be regained both in individual lives and in society
참고문헌 (22)
- Bigsby, C. W. E., "David Mamet: Contemporary Writers" (1985), Methuen & Co. Ltd.
- Bigsby, C. W. E., "Cambridge Companion to David Mamet" (2004), Cambridge UP
- "Reviews of Cryptogram at the Donmar Warehouse"[URL]
- "Mamet’s Divided Magics: Communion and Duplicity in The Shawl"[URL]
- Freedman, Samuel G., "The Gritty Eloquence of David Mamet", New York Times Magazine, pp.46~ (1985)
- Freire, Paulo, "Pedagogy of the Oppressed", 20th Anniversary (1997), Continuum
- Janet V. Haedicke, "Decoding Cipher Space: David Mamet’s The Cryptogram and America’s Dramatic Legacy", American Drama, 9, pp.1~20 (1999)
- Kane, Leslie, "David Mamet in Conversation" (2001), U. of Michigan Press
- Kane, Leslie, "Weasels and Wisemen: Ethics and Ethnicity in the Work of David Mamet" (1999), Palgrave
- Kroll, Jack, "Phantoms in the Dark: David Mamet’s Family of Cannibals", Newsweek, pp.72~ (1995)
- Lahr, John, "David Mamet’s Child’s Play", New Yorker, pp.33~34 (1995)
- Mamet, David, "The Rake in : The Cabin: Reminiscence and Diversions" (1992), Vintage
- Mamet, David, "The Cabin: Reminiscence and Diversions" (1992), Vintage
- Mamet, David, "Reunion in : Reunion; Dark Pony: Two Plays by David Mamet" (1979), Grove
- Mamet, David, "The Cryptogram" (1995), Dramatists
- Mamet, David, "New York Times, 5 July 1976", ~ (1976)
- Matthew Roudane, "Mamet’s Mimetics in : Mamet: A Casebook" (1992), Garland
- Matthew Roudane, "American Drama Since 1960: A Critical History" (1996), Twayne Publishers
- Schaub, Martin, "Magic Meanings in Mamet’s Cryptogram", Modern Drama, 42(3), pp.326~337 (1999)
- "Broadway Goes Off, New York 24 Apr. 1995: 76"[URL]
- "At 50, A Mellower David Mamet may Be Ready to Tell His Story" (1997)[URL]