아브젝트에 내포된 양가성 : 마샤 노만의 Getting Out을 중심으로
The Ambivalence in the Abject : Focused on Getting Out by Marsha Norman
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I intend to analyze a work by a feminist playwright, Marsha Norman's Getting Out through the concept of ‘abject’. According to Kristeva, an abject object poses a threat to the existence of a subject and it is to be detested and denied. The female heroine, Arlene who has been captured by abjection, views herself as insignificant as a result of bleak memories from the past. Also, she is unable to express her sufferings as a result of her mother's parenting. For that reason, Arlie transforms into a more threatening woman in order to protect herself from the terrorizing authority of the patriarchal system. After that, Arlie's subject only has the meaning of absolute evil. Upon realizing that she has existed as a social abject, Arlie chooses to self-destruct by passing on the place of subject to Arlene. However, fluid characteristics of the abject that hover between the boundaries help her to acknowledge herself as changeable subject. What Arlene desperately wanted to escape from was the semiotics that the patriarchal system has created, ‘abject women’. Thus, if she tries to find meaning in her own existence from the process, the abject created in the process of the subjects splitting will become a drive toward a better life and guidelines for the future.
Abstract
I intend to analyze a work by a feminist playwright, Marsha Norman's Getting Out through the concept of ‘abject’. According to Kristeva, an abject object poses a threat to the existence of a subject and it is to be detested and denied. The female heroine, Arlene who has been captured by abjection, views herself as insignificant as a result of bleak memories from the past. Also, she is unable to express her sufferings as a result of her mother's parenting. For that reason, Arlie transforms into a more threatening woman in order to protect herself from the terrorizing authority of the patriarchal system. After that, Arlie's subject only has the meaning of absolute evil. Upon realizing that she has existed as a social abject, Arlie chooses to self-destruct by passing on the place of subject to Arlene. However, fluid characteristics of the abject that hover between the boundaries help her to acknowledge herself as changeable subject. What Arlene desperately wanted to escape from was the semiotics that the patriarchal system has created, ‘abject women’. Thus, if she tries to find meaning in her own existence from the process, the abject created in the process of the subjects splitting will become a drive toward a better life and guidelines for the future.
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