프리엘의 극에 나타난 서벌턴 그리고 기억/회상의 무대화하기
Staging on the Subaltern and Memory/Reminiscence in Brian Friel's Plays
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The goal of this essay is to examine Brian Friel's plays with the analysis based on Spivak's subaltern. Spivak first indicates how the Western process of reasoning foreclosed the subaltern women,criticizing its logical assumptions and abjection. She reveals that the agency of female subjects was blocked and did not allow women to construct their discourse. Her problematization of the colonized subjective agency in terms of imperial epistemic violence and its heterogeneity and the intellectual's positioning helps interrogate the notion of identity as independent and self-sufficient consciousness,exposing the danger of reproducing the imperial power structures and re-silencing the subaltern involved in the process of postcolonial communication. In Dancing at Lughnasa, it is revealed that, from the viewpoint of the male narrator, Irish women in the postcolonial age still undergo the hardship chained by the partriarchial system and Catholic regulations. In this play, Friel exposes the social, political,religious mechanisms in Ballybeg which have constructed Irish female subalterns' gender role and constrained their life. In the patriarchal world of Friel's plays, the most subjected are the Irish female subalterns in terms of gender, sexuality, class, and situation. And, therefore, Irish women in Friel's plays lack their own voice. Molly Sweeney is a political play. The characters stand for either the colonizer or the colonized. Furthermore, this play also deals with the Irish women under oppression. The boundary between the imaginary world and reality which Molly crosses over and returns in the last scene represents the ambivalent situations of confusion the Irish women experience.
Abstract
The goal of this essay is to examine Brian Friel's plays with the analysis based on Spivak's subaltern. Spivak first indicates how the Western process of reasoning foreclosed the subaltern women,criticizing its logical assumptions and abjection. She reveals that the agency of female subjects was blocked and did not allow women to construct their discourse. Her problematization of the colonized subjective agency in terms of imperial epistemic violence and its heterogeneity and the intellectual's positioning helps interrogate the notion of identity as independent and self-sufficient consciousness,exposing the danger of reproducing the imperial power structures and re-silencing the subaltern involved in the process of postcolonial communication. In Dancing at Lughnasa, it is revealed that, from the viewpoint of the male narrator, Irish women in the postcolonial age still undergo the hardship chained by the partriarchial system and Catholic regulations. In this play, Friel exposes the social, political,religious mechanisms in Ballybeg which have constructed Irish female subalterns' gender role and constrained their life. In the patriarchal world of Friel's plays, the most subjected are the Irish female subalterns in terms of gender, sexuality, class, and situation. And, therefore, Irish women in Friel's plays lack their own voice. Molly Sweeney is a political play. The characters stand for either the colonizer or the colonized. Furthermore, this play also deals with the Irish women under oppression. The boundary between the imaginary world and reality which Molly crosses over and returns in the last scene represents the ambivalent situations of confusion the Irish women experience.
참고문헌 (24)
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