자살과 죽음, 반연극적 유희의 방식: Death of a Salesman 부조리 텍스트로 다시 읽기
Suicide and Death, the mode of ‘anti-play’ playing: An rereading of Death of a Salesman as Absurdist Text
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As for the suicide and death of Willy Loman, protagonist in Arthur Miller's play Death of a Salesman (1949), previous studies, whether positive or negative, whether hopeful or pessimistic, acknowledge that it is the result of Willy's willingness to choose and thus interpret him as the subject of action. The above interpretation raises the following series of questions. Is Willy truthfully the subject of the act? Is his suicide and death entirely the result of his will? Are there any irreversible external factors and forces that have driven him to suicide and death? Isn't his suicide and death an inevitable and ‘given’ choice irrelevant to his will? As a result, isn't his suicide and death an action that lacks will and subjectivity, or an ‘anti-action’ from the absurdist perspective? These questions, in addition to the existing interpretations, open up new possibilities for interpreting Willy's suicide and death. In answering the questions, this study attempts to reads the main character Willy's suicide and death from the absurdist perspective. Accordingly, Willy's suicide is examined in terms of ‘anti-play’ playing, and interpreted as the act of ‘killing’ or 'filling' time which is carried out toward a scheduled death according to the ruled book.
Abstract
As for the suicide and death of Willy Loman, protagonist in Arthur Miller's play Death of a Salesman (1949), previous studies, whether positive or negative, whether hopeful or pessimistic, acknowledge that it is the result of Willy's willingness to choose and thus interpret him as the subject of action. The above interpretation raises the following series of questions. Is Willy truthfully the subject of the act? Is his suicide and death entirely the result of his will? Are there any irreversible external factors and forces that have driven him to suicide and death? Isn't his suicide and death an inevitable and ‘given’ choice irrelevant to his will? As a result, isn't his suicide and death an action that lacks will and subjectivity, or an ‘anti-action’ from the absurdist perspective? These questions, in addition to the existing interpretations, open up new possibilities for interpreting Willy's suicide and death. In answering the questions, this study attempts to reads the main character Willy's suicide and death from the absurdist perspective. Accordingly, Willy's suicide is examined in terms of ‘anti-play’ playing, and interpreted as the act of ‘killing’ or 'filling' time which is carried out toward a scheduled death according to the ruled book.
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