문화적 역공간성과 불안: 브라이언 프리엘의 극
Cultural Liminality and Angst in Brian Friel's Plays
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The background of Brian Friel's early plays―Translations (1980), Philadelphia, Here I Come! (1964), The Freedom of the City (1973)―reflects the social, political, and economic reality in Ireland. Regardless of whether it is geographically real or imaginary, the background functions as a spatial metaphor for Irish characters' liminal state of being situated between two locations: Ireland and England, or Ireland and America. In this essay, I analyze the ways in which their physical and mental state of "between-ness" brings about the angst of their double-consciousness in the context of Victor Turner's writing on liminality on the basis of the theory of space. This double-consciousness comes from them looking at themselves through the eyes of the hybrid society. By analyzing the lives of Owen in Translations, Gar in Philadelphia, Here I Come!, and Michael in The Freedom of the City, this essay shows that their liminality could not open up a space for the potentially productive condition Turner calls "communitas," that is, a structureless society based on equality and solidarity. Rather, given that the liminality is only temporary and structurally limited, it stands for their desire in the mode of fantasy to become free from the reproduction of existing order, particularly in regard to ethnicity and religion.
Abstract
The background of Brian Friel's early plays―Translations (1980), Philadelphia, Here I Come! (1964), The Freedom of the City (1973)―reflects the social, political, and economic reality in Ireland. Regardless of whether it is geographically real or imaginary, the background functions as a spatial metaphor for Irish characters' liminal state of being situated between two locations: Ireland and England, or Ireland and America. In this essay, I analyze the ways in which their physical and mental state of "between-ness" brings about the angst of their double-consciousness in the context of Victor Turner's writing on liminality on the basis of the theory of space. This double-consciousness comes from them looking at themselves through the eyes of the hybrid society. By analyzing the lives of Owen in Translations, Gar in Philadelphia, Here I Come!, and Michael in The Freedom of the City, this essay shows that their liminality could not open up a space for the potentially productive condition Turner calls "communitas," that is, a structureless society based on equality and solidarity. Rather, given that the liminality is only temporary and structurally limited, it stands for their desire in the mode of fantasy to become free from the reproduction of existing order, particularly in regard to ethnicity and religion.
참고문헌 (17)
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- Friel, Brian, "The Freedom of the City. Selected Plays: Brian Friel", pp.101~170 (1986), Catholic U of American P
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- Turner, Victor, "Dramas, Fields, and Metaphors: Symbolic Action in Human Society" (1974), Cornell UP