더러움과 청결의 양가적 경계: 『깨끗한 집』을 중심으로
The Ambivalent Boundary between Filth and Cleanliness: Focused on The Clean House
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Sarah Ruhl is a new American playwright who has produced works revealing her own distinctive identity through bold and ingenious development. While the majority of her works are classified as comedy-drama, materials for her works, in contrast, show tragic images. In The Clean House published in 2004, Ruhl unites the conflicting elements of tragedy and comedy without giving a sense of heterogeneity, by setting up delicate comedic elements in the situation on the verge of death. This paper analyzes problematic circumstances in which characters are placed and psychological emotions felt by the characters when faced by intimidating objects, by using Julia Kristeva’s concept of ‘Abject’. Abject, according to Kristeva, is the most ambiguous concept of boundaries. An abject object poses a threat to the existence of a subject and it is to be detested and denied. Further, this paper intends to understand in depth the conclusion of the play that progresses toward forgiveness and harmony, by combining the meanings of ‘cleaning’ and ‘laugh,’ which are the central themes of the work, with subversive characteristics inherent in the Abject.
Abstract
Sarah Ruhl is a new American playwright who has produced works revealing her own distinctive identity through bold and ingenious development. While the majority of her works are classified as comedy-drama, materials for her works, in contrast, show tragic images. In The Clean House published in 2004, Ruhl unites the conflicting elements of tragedy and comedy without giving a sense of heterogeneity, by setting up delicate comedic elements in the situation on the verge of death. This paper analyzes problematic circumstances in which characters are placed and psychological emotions felt by the characters when faced by intimidating objects, by using Julia Kristeva’s concept of ‘Abject’. Abject, according to Kristeva, is the most ambiguous concept of boundaries. An abject object poses a threat to the existence of a subject and it is to be detested and denied. Further, this paper intends to understand in depth the conclusion of the play that progresses toward forgiveness and harmony, by combining the meanings of ‘cleaning’ and ‘laugh,’ which are the central themes of the work, with subversive characteristics inherent in the Abject.
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