체리 모라가의 『유령 포기하기』에서 유령의 공간화와 헤테로토피아
Spatializing the Ghosts and Heterotopia in Cherríe Moraga’s Giving Up the Ghost
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This essay discusses the ways in which Giving Up the Ghost, a play written by a Chicana lesbian, Cherríe Moraga, functions as a counter-discourse, a strategy for constructing heterotopia as an ideal space for “strangers” excluded from the dominant systems of representation. The analysis utilizes social theories of space along with Jacques Derrida’s concept of “ghost,” thereby criticizing these systems in terms of social justice, equality, and inclusion. Racism, patriarchy, and distinction haunt Chicana/o residential areas like ghosts in that they “always remain dead and then return” as systems of oppression. Even though the study of this play pays great attention to power, oppression, and resistance, it is not spatially explored on the basis of such geographical concepts as distance, differential division of space, and the space of the fantastic as a metaphor for “la familia,” or the family. Cherríe Moraga provides us with a view of heterotopia liberated from the privileged positions in race, sex, and class. One may conclude that she dramatically advocates the heterotopic familia as “an extended community,” not the traditional heterosexual-centered Family, by spatializing the ghosts of the dominant systems of representation.
Abstract
This essay discusses the ways in which Giving Up the Ghost, a play written by a Chicana lesbian, Cherríe Moraga, functions as a counter-discourse, a strategy for constructing heterotopia as an ideal space for “strangers” excluded from the dominant systems of representation. The analysis utilizes social theories of space along with Jacques Derrida’s concept of “ghost,” thereby criticizing these systems in terms of social justice, equality, and inclusion. Racism, patriarchy, and distinction haunt Chicana/o residential areas like ghosts in that they “always remain dead and then return” as systems of oppression. Even though the study of this play pays great attention to power, oppression, and resistance, it is not spatially explored on the basis of such geographical concepts as distance, differential division of space, and the space of the fantastic as a metaphor for “la familia,” or the family. Cherríe Moraga provides us with a view of heterotopia liberated from the privileged positions in race, sex, and class. One may conclude that she dramatically advocates the heterotopic familia as “an extended community,” not the traditional heterosexual-centered Family, by spatializing the ghosts of the dominant systems of representation.
참고문헌 (14)
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