핀터의 『떠나기 전 한잔』과 『산악 언어』 - 페미니즘과 들뢰즈

Abstract

It is generally acknowledged that there is a structural gulf between politics and sexual politics in Harold Pinter's work. Metonymic images of sexual political oppression such as rape, prostitution, women's forced obedience and silence are usually understood as metaphors of political oppression in critical readings of Pinter's political plays in order to overcome the structural disjunction. This paper argues that Pinter's openly political plays render the gap visible instead of trying to make it invisible. Pinter's One for the Road (1986) and Mountain Language (1988) are representative of his “openly political plays” of the 80s and show that his plays of Oedipal memory are complicit with misogynist structures of sexual difference. Thus these plays confirm the interrelationship between Pinter's politics and sexual politics. This paper shows that Pinter's One for the Road and Mountain Language liberate differences in the milieu between politics and sexual politics, not by recapturing them into the Oedipal system of representation according to the organizing principle of similarities but by freeing them according to the principles of difference and creation. Pinter transforms the structural ruptures of the political plays into zones of indetermination by using cinematic techniques such as juxtaposed metonymic fragments and voice-overs. Through disrupture, disjunction, and indeterminacy, Pinter's strong women, Gila, Sara, the Elderly Woman initiate becoming-woman and induce men into becomings. In fact, for Pinter himself, to write openly political plays is to trace lines of flight from the Oedipal system, by becoming Kurdish women and others.