브라이언 프리엘의 『귀족』에 나타난 남성 권력과 여성 젠더
Male Power and Female Gender in Brian Friel’s Aristocrats
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Brian Friel’s Aristocrats examines the interrogated issue of male power and female gender in the patriarchal society of Ireland. Although Irish social structure changed rapidly during the play’s mid-1970s, the control of conservative social and religious forces still had a strong influence. In Ireland,the ideological view of gender distinction was inseparably associated with both Catholic church and the patriarchal ideology. In short, the gender in Ireland is socially constructed by the patriarchal male power within nationalism. Friel criticizes post-independence Ireland as a society stifled by the reified patriarchal authority and its gender system. In Aristocrats, the familial and institutional authority is inscribed on the subjected bodies of District Justice O’Donnell’s daughters. O’Donnell sisters―Judith, Alice, and Claire―are still dominated by their demanding father, now senile, incontinent and confined to bed. The obedient O’Donnell sisters are forced to learn the traditional gender role within an engendered space of Ballybeg Hall, repeating what Judith Butler calls the ‘performativity’. Friel also examines the issue of power and gender in terms of historical aphasia, its strategic forgetting of women in the masculinist narrative/history of nationalism. The erasure of women from genealogical procession in both history and History is manifested in the episodic versions of Casimir and Eamon when they tell the O’Donnell history to the American scholar, Tom Hoffnung. Their versions are solely filled with the tales of influential forefathers without those of foremothers. Aristocrats, however, offers a hopeful prospect, which accommodates new possibilities and an open-ended future, however limited. After father’s death,O’Donnell sisters are not only liberated from the gender role but also allowed to reclaim the rehabilitation of their dead mother. This signals not only a possible way for female gender out of the performative repetition but also the recovery of the missing female gender in both Irish history and History.
Abstract
Brian Friel’s Aristocrats examines the interrogated issue of male power and female gender in the patriarchal society of Ireland. Although Irish social structure changed rapidly during the play’s mid-1970s, the control of conservative social and religious forces still had a strong influence. In Ireland,the ideological view of gender distinction was inseparably associated with both Catholic church and the patriarchal ideology. In short, the gender in Ireland is socially constructed by the patriarchal male power within nationalism. Friel criticizes post-independence Ireland as a society stifled by the reified patriarchal authority and its gender system. In Aristocrats, the familial and institutional authority is inscribed on the subjected bodies of District Justice O’Donnell’s daughters. O’Donnell sisters―Judith, Alice, and Claire―are still dominated by their demanding father, now senile, incontinent and confined to bed. The obedient O’Donnell sisters are forced to learn the traditional gender role within an engendered space of Ballybeg Hall, repeating what Judith Butler calls the ‘performativity’. Friel also examines the issue of power and gender in terms of historical aphasia, its strategic forgetting of women in the masculinist narrative/history of nationalism. The erasure of women from genealogical procession in both history and History is manifested in the episodic versions of Casimir and Eamon when they tell the O’Donnell history to the American scholar, Tom Hoffnung. Their versions are solely filled with the tales of influential forefathers without those of foremothers. Aristocrats, however, offers a hopeful prospect, which accommodates new possibilities and an open-ended future, however limited. After father’s death,O’Donnell sisters are not only liberated from the gender role but also allowed to reclaim the rehabilitation of their dead mother. This signals not only a possible way for female gender out of the performative repetition but also the recovery of the missing female gender in both Irish history and History.
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