마리나 카의 『고양이 늪에서』에 나타난 자연환경과 여성
The Relation Between the Landscape and Woman in Marina Carr’s By the Bog of Cats
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Marina Carr’s third Midland play By the Bog of Cats shows an inseparable relationship between the heroine and the landscape, the bog. The bog, with qualities of both the earth and the lake, belongs to neither of them entirely. Hester Swane, the heroine, also belongs nowhere in the local community, living an outsider’s ambiguous life because of her tinker blood, and not leaving the bog even when she is forced to. Hester cannot get over the longing for her mother all her life, as she remains mired in the bog. Hester’s mother crossed the bog and left her seven-year-old daughter, and Hester, even in her forties, keeps waiting for her mother by the bog day and night. Hester does not leave the bog, which symbolizes her mother, being a physical and spiritual home to her, and furthermore, it becomes evident that the bog also has mystical properties as the play progresses. As Carr explains, By the Bog of Cats is characterized as a place where the natural and the supernatural world, reality and illusion, life and death and the past and the present cross each other. Multiple worlds’ crossing becomes possible as the bog has been a source of many histories of people like Hester and her mother from generation to generation, and Hester is attached to the bog because her history lies there. For Carr, Hester’s bog has a deeper meaning than just being a landscape. It means Hester’s whole story including her past memories and life after death.
Abstract
Marina Carr’s third Midland play By the Bog of Cats shows an inseparable relationship between the heroine and the landscape, the bog. The bog, with qualities of both the earth and the lake, belongs to neither of them entirely. Hester Swane, the heroine, also belongs nowhere in the local community, living an outsider’s ambiguous life because of her tinker blood, and not leaving the bog even when she is forced to. Hester cannot get over the longing for her mother all her life, as she remains mired in the bog. Hester’s mother crossed the bog and left her seven-year-old daughter, and Hester, even in her forties, keeps waiting for her mother by the bog day and night. Hester does not leave the bog, which symbolizes her mother, being a physical and spiritual home to her, and furthermore, it becomes evident that the bog also has mystical properties as the play progresses. As Carr explains, By the Bog of Cats is characterized as a place where the natural and the supernatural world, reality and illusion, life and death and the past and the present cross each other. Multiple worlds’ crossing becomes possible as the bog has been a source of many histories of people like Hester and her mother from generation to generation, and Hester is attached to the bog because her history lies there. For Carr, Hester’s bog has a deeper meaning than just being a landscape. It means Hester’s whole story including her past memories and life after death.
참고문헌 (24)
- Battersby, Eileen, "Marina of the Midlands", Irish Times 18 June 2002:15, ~ (2002)
- Bourke, Bernadette, "Carr’s ‘cut-throats and gargiyles: The Study of Greeks and Ghosts in the Shaping of the American Premiere of By the Bog of Cats, In The Theatre of Marina Carr: Before Rules Was Made", pp.128~144 (2003), Dublin: Carysfort P
- Carr, Marina, "By the Bog of Cats" (2002), Dramatists Play Service, Inc
- Chaudhuri, Una, "Staging Place: The Geography of Modern Drama" (1995), U of Michigan P
- Fouéré, Olwen, "Journeys in Performance: On Playing in The Mai and By the Bog of Cats", Leeney and Mcmuyllan, 160~171
- King, Nicola, "Memory, Narrative, Identity: Remembering the Self" (2000), Edinburgh UP
- Macintosh, Fiona, "Dying Acts: Death in Ancient Greek and Modern Irish Tragic Drama" (1994), Cork
- Martinovich, M. K, "The Mythical and the Macabre: The Study of Greeks and Ghosts in the Shaping of the American Premiere of By the Bog of Cats", pp.114~127, Leeney and McMullan
- McGuinness. Frank, "Dazzling Dark: New Irish Plays" (1996), Faber & Faber
- Russell, Richard, "Talking with Ghosts of Irish Playwrights past: Marina Carr’s By the Bog of Cats", Comparative Drama, 40(2), pp.149~168 (2006)
- Sihra, Melissa, "Nature Noble or Ignoble: Woman, Home and Spaces Beyond in the Theatre of Marina Carr, In Irish Theatre On Tour: Irish Theatrical Diaspora Series 1", pp.133~148 (2005), Carysfort P
- Turner, Victor, "Dramas, Fields, and Metaphors: Symbolic Action in Human Society" (1974), Cornell
- Battersby, Eileen, "Marina of the Midlands", Irish Times 18 June 2002:15, ~ (2002)
- Bourke, Bernadette, "Carr’s ‘cut-throats and gargiyles: The Study of Greeks and Ghosts in the Shaping of the American Premiere of By the Bog of Cats. In The Theatre of Marina Carr: Before Rules Was Made", pp.128~144 (2003), Carysfort P
- Carr, Marina, "By the Bog of Cats" (2002), Dramatists Play Service, Inc
- Chaudhuri, Una, "Staging Place: The Geography of Modern Drama" (1995), U of Michigan P
- Fouéré, Olwen, "Journeys in Performance: On Playing in The Mai and By the Bog of Cats", pp.160~171, Leeney and Mcmuyllan
- King, Nicola, "Memory, Narrative, Identity: Remembering the Self" (2000), Edinburgh UP
- Macintosh, Fiona, "Dying Acts: Death in Ancient Greek and Modern Irish Tragic Drama" (1994), Cork
- Martinovich, M. K, "The Mythical and the Macabre: The Study of Greeks and Ghosts in the Shaping of the American Premiere of By the Bog of Cats", pp.114~127, Leeney and McMullan
- McGuinness. Frank, "Dazzling Dark: New Irish Plays" (1996), Faber & Faber
- Russell, Richard, "Talking with Ghosts of Irish Playwrights past: Marina Carr’s By the Bog of Cats", Comparative Drama, 40(2), pp.149~168 (2006)
- Sihra, Melissa, "Nature Noble or Ignoble: Woman, Home and Spaces Beyond in the Theatre of Marina Carr in Irish Theatre On Tour: Irish Theatrical Diaspora Series 1", pp.133~148 (2005), Carysfort P
- Turner, Victor, "Dramas, Fields, and Metaphors: Symbolic Action in Human Society" (1974), Cornell UP