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이오네스코의 「대학살놀이」(Jeux de Massacre) 내의 미메시스적 충동 읽기

Reading Mimetic Impulse in Ionesco's Massacre Games (Jeux de Massacre)

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This study examines the mimetic impulse in Eugène Ionesco's Massacre Games(1970), by analysing the scenes with Theodor W. Adorno's mimesis theory. It aims at emphasising the value of Massacre Games against the tendency of critiques so far. I assert that Massacre Games, as a work of the theatre of absurd, reveals a chance for introspection about Western civilisation and a possibility of utopia. In the drama, ‘mimesis of negativity’provoked by an unknown infectious disease unveils the inhuman and absurd sides in reality, such as the incapacity of reason that can not maintain human existence, the oppression and the violence of the ideology of hygiene, and the reification of human life. On the other side, ‘mimesis of negation of negativity’appeared by a few people who face death with others in the distinct way keeps the potential truth. Both the drama and mimesis theory never directly indicate the negativity nor suggest utopia, which are in order to oppose perpetuating fixed ideas about reconciliation, compromise and utopia.

Abstract

This study examines the mimetic impulse in Eugène Ionesco's Massacre Games(1970), by analysing the scenes with Theodor W. Adorno's mimesis theory. It aims at emphasising the value of Massacre Games against the tendency of critiques so far. I assert that Massacre Games, as a work of the theatre of absurd, reveals a chance for introspection about Western civilisation and a possibility of utopia. In the drama, ‘mimesis of negativity’provoked by an unknown infectious disease unveils the inhuman and absurd sides in reality, such as the incapacity of reason that can not maintain human existence, the oppression and the violence of the ideology of hygiene, and the reification of human life. On the other side, ‘mimesis of negation of negativity’appeared by a few people who face death with others in the distinct way keeps the potential truth. Both the drama and mimesis theory never directly indicate the negativity nor suggest utopia, which are in order to oppose perpetuating fixed ideas about reconciliation, compromise and utopia.

참고문헌 (16)

  1. 아도르노, Th. W., "계몽의 변증법" (1997), 문학과지성사
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  3. 아도르노, Th. W., "미니마 모랄리아" (2005), 길
  4. 아도르노, Th. W., "부정 변증법" (1999), 한길사
  5. 이순예, "아도르노와 자본주의적 우울" (2005), 도서출판 풀빛
  6. 이오네스코, 외젠느, "노트와 반노트" (2003), 동문선
  7. 카뮈, 알베르, "시지프 신화" (1998), 책세상
  8. Adorno, Th. W., "Trying to Understand Endgame, In Notes to Literature, vol. 1", pp.241~275 (1991), Columbia UP
  9. Brockett, Oscar, G., "The Theatre: An Introduction" (1979), Holt, Rinehart and Winston
  10. Esslin, Martin, "The Theatre of the Absurd" (1968), Penguin
  11. Guicharnaud, Jacques, "Ionesco Ex Machina, In Ionesco: a Collection of Critical Essays", pp.55~63 (1973), Prentice Hall
  12. Hobsbawm, Eric, "The Age of Empire, 1875-1914" (1914), Vintage
  13. Ionesco, Eugène, "Jeux de Massacre, In Théâtre Complet", pp.961~1035 (1991), Gallimard
  14. Jarvis, Simon, "Adorno: A Critical Introduction" (1998), Polity
  15. Lamont, Rosette C., "Death and Dying, In Ionesco's Imperatives: The Politics of Culture", pp.149~174 (1993), the University of Michigan Press
  16. Lewis, Allan, "Ionesco" (1972), Twayne Publishers

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