비체를 통해 드러난 전쟁과 폭력의 허구 —린 노티지의『망가진 여인들』에 나타난 비체의 힘
Exposing the Falsehood of War and Violence: Power of the Abject in Lynn Nottage’s Ruined
0
조회
0
다운로드
4
인용
0
참고문헌
키워드
초록
The essay focuses on the relationship between the soldiers and the oppressed women in Lynn Nottage’s Ruined (2009) in terms of Julia Kristeva’s abject to show how the abjected Congolese women expose the falsehood of the order and identity that the military forces try to construct and maintain by war and violence. According to Kristeva, the abject is something that is rejected for the repulsion and horror it arouses but constantly draws the subject to it at the same time. Physically impaired and socially stigmatized, sexually abused Congolese women find a shelter in Mama Nadi’s bar, the only place where they can continue their lives as the abject since the place, like the women themselves, lies outside the symbolic order occupied and cor- rupted by the men of DRC. Although the men involved in the armed conflict have abjected the women in pursuit of their own system and order, the women are not simply the objects of abuse and oppression. The men have to rely on Mama Nadi and her women not only to reaffirm their identity and power by suppressing them but also to fulfill their biological needs. In addition, the women’s resistance against the soldiers demonstrates their power to challenge the men’s symbolic order and expose its frailty. Apropos of the abject’s resis- tance, various artistic genres such as poetry, music and dance appear in the play as an escape from the grim reality and a means of challenging and tran- scending the symbolic order. Bringing all these artistic elements together into a powerful piece of theatre—often considered as an ‘abject’ genre nowadays, Nottage demonstrates both the power of theatre as well as the tenacious Congolese women.
Abstract
The essay focuses on the relationship between the soldiers and the oppressed women in Lynn Nottage’s Ruined (2009) in terms of Julia Kristeva’s abject to show how the abjected Congolese women expose the falsehood of the order and identity that the military forces try to construct and maintain by war and violence. According to Kristeva, the abject is something that is rejected for the repulsion and horror it arouses but constantly draws the subject to it at the same time. Physically impaired and socially stigmatized, sexually abused Congolese women find a shelter in Mama Nadi’s bar, the only place where they can continue their lives as the abject since the place, like the women themselves, lies outside the symbolic order occupied and cor- rupted by the men of DRC. Although the men involved in the armed conflict have abjected the women in pursuit of their own system and order, the women are not simply the objects of abuse and oppression. The men have to rely on Mama Nadi and her women not only to reaffirm their identity and power by suppressing them but also to fulfill their biological needs. In addition, the women’s resistance against the soldiers demonstrates their power to challenge the men’s symbolic order and expose its frailty. Apropos of the abject’s resis- tance, various artistic genres such as poetry, music and dance appear in the play as an escape from the grim reality and a means of challenging and tran- scending the symbolic order. Bringing all these artistic elements together into a powerful piece of theatre—often considered as an ‘abject’ genre nowadays, Nottage demonstrates both the power of theatre as well as the tenacious Congolese women.
참고문헌 (20)
- Allen, Beverly, "Rape Warfare: The Hidden Genocide in Bosnia-Herzegovina and Croatia" (1996), U of Minnesota P
- Ashworth, Rebecca, "Ruined: From Spectacle to Action", ex PLUS ultra, 2, pp.1~14 (2010)
- Bakhtin, Mikhail, "Rabelais and His World" (1984), Indiana UP
- Bosmans, Marleen, "Challenges in Aid to Rape Victims: the Case of the Democratic Republic of the Congo", Essex Human Rights Review, 4(1), pp.1~12 (2007)
- Brantley, Ben, "War’s Terrors, Through a Brothel Window", New York Times, ~ (2009)
- 전연희, "영토, 젠더(gender) 그리고 몸의 정치학: 린 노티지의 Ruined", 현대영미드라마, 26(1), pp.179~206 (2013), 한국현대영미드라마학회
- Deleuze, Gilles, "A Thousand Plateaus" (1997), U of Minnesota P
- Diken, Bulent, "Becoming Abject: Rape as a Weapon of War", Body & Society, 11(1), pp.111~128 (2005)
- Dolan, Jill, "Ruined, by Lynn Nottage", The Feminist Spectator, ~ (2009)
- "DR Congo war deaths ‘exaggerated", BBC News, ~ (2010)
- Fox, Ann M, "Battles on the Body: Disability, Interpreting Dramatic Literature, and the Case of Lynn Nottage’s Ruined", Journal of Literary & Cultural Disability Studies, 5(1), pp.1~15 (2011)
- Gener, Randy, "In Defense of ‘Ruined", American Theatre, 27(8), pp.118~122 (2010)
- 강형민, "린 노티지의 Ruined에 나타난 탈식민적 폭력과 세계화된 신자유주의 자본주의의 착취에 맞선 생존과 안정을 향한 콩고인들의 투쟁", 현대영미드라마, 27(1), pp.5~36 (2014), 한국현대영미드라마학회
- 김소임, "퓰리처상을 통해 본 현대미국연극", pp.439~460 (2014), 건국대학교
- Kristeva, Julia, "Powers of Horror: An Essay on Abjection" (1982), Columbia UP
- Kuftinec, Sonja Arsham, "Oregon Shakespeare Festival(review)", Theatre Journal, 63(1), pp.101~106 (2011)
- McGee, Celia, "Approaching Brecht, by Way of Africa", New York Times, ~ (2009)
- Nottage, Lynn, "Ruined" (2009), Theatre Communications Group
- Smith, David, "One-third of Congolese men admit committing sexual violence", The Guardian, ~ (2012)
- Whoriskey, Kate, "Ruined" (2009), Theatre Communications Group