존 스타인벡의 『생쥐와 인간』에서 컬리의 아내에게 이름이 주어지지 않은 이유
Reason that Curley's Wife Has Not Been Given Any Name in Of Mice and Men by John Steinbeck
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존 스타인벡이 독서와 연극공연용으로 저술하여 성공한 짧은 이야기인 플레이-노블레 『생쥐와 인간』은 마지막 장면에서 조오지가 그의 지적장애인 친구 레니를 살해한 안락사에 가까운 온정적인 행위와 소설의 처음과 끝부분에 같은 공간적 배경을 둔 화법 기술로 유명하다. 하지만, 작가가 상대적으로 덜 중요한 등장인물들에게 이름을 주었음에도 컬리의 아내로 불린 유일한 여성 배역에게만은 이름을 주기를 거절하였기 때문에 여성 혐오주의자로 오해를 받고 있지만, 연구자들은 이에 대해서 관심을 거의 가지지 않았다. 이 연구는 컬리의 아내가 끝까지 이름을 부여받지 못한 이유에 대해 답하기 위하여 이 중편소설이 드라마로 각색되는 과정을 연구한다. 제2장은 선행연구에 비추어 마지막 장면과 시적인 균형을 가진 구조를 고찰하고 연구자들이 논하지 않았던 그녀의 죽음을 공부해야 할 필요성을 제기한다. 제3장은 그녀의 연기를 중심으로 텍스트를 재해석함으로써 그녀가 조오지와 레니만큼 중요한 역할을 하고 있음을 논증하고, 제4장은 무대용 작품으로 각색하는 과정을 설명하면서 컬리의 아내의 역할과 관련하여 의미심장한 에피소드를 소개한다. 마지막으로 제5장은 스타인벡의 플레이-노블레 장르의 중요한 속성으로서 열린 해석의 가능성을 언급하는 방법으로 작가가 당시 여성들의 존재 방식을 보여주기를 의도하였다고 추론한다. 이 연구는 소설과 드라마의 차이에 고민하고, 남성위주사회에 의해 지금까지 윤색되어온 여성성에 대한 시각을 지적함으로써 문학비평의 폭을 확장하는데 기여할 것을 기대한다.
Abstract
John Steinbeck's successful play-novelette Of Mice and Men, a short book used for both reading and playing in a drama, is well-known for its sad ending that George kills his feeble-minded friend Lennie as a compassionate act or euthanasia and its narrative art with the same background at the beginning and the ending scene of the novelette. However, researchers have paid little attention to the fact that the writer is misunderstood as a misogynist because he refused to give any name to Curely's wife but named all the other characters even though their roles are relatively considered as insignificant. This paper studies the process that the novella was changed into a drama version to reason out the answer to the question of why Curley's wife was not given her name to the last time. The second chapter observes the last scene and the structure of poetic symmetry in the light of the previous research and suggests the need to study her death that has been out of discussion among researchers. The third chapter demonstrates that she plays the same critical role as George and Lennie by analyzing the text centered on her acting, and the fourth explains the process of adapting the work for the stage by introducing a meaningful episode related to the role of Curley's wife. Lastly, the fifth chapter suggests that Steinbeck intended to show how the women existed at that time by referring to the possibility of open translation, a significant attribute of his play-novelette genre. This research is expected to contribute to expanding the criticism of literature by working on the difference between the novel and the drama and pointing at the view of womanhood colored by the male-oriented society up to now.
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