수잔 로리 팍스의 아브젝트의 제의: 『붉은 글자 희곡』을 중심으로

Title
수잔 로리 팍스의 아브젝트의 제의: 『붉은 글자 희곡』을 중심으로
Other Titles
The Rituals of the Abject: Suzan-Lori Parks’s The Red Letter Plays
Author(s)
신지숙
Keywords
Suzan-Lori Parks; The Red Letter Plays; In the Blood; Fucking A; ritual; abject; liminality; 수잔 로리 팍스; 『 붉은 글자 희곡』; 『 피로 물들어』; 『 망할 』; 제의; 아브젝트; 리미낼리티
Issue Date
201409
Publisher
한국영미어문학회
Citation
영미어문학, no.114, pp.129 - 151
Abstract
In The Red Letter Plays, Suzan-Lori Parks portrays liminal situations of time and history in order to imagine and examine our cultural alternatives. The two Hesters, the protagonists of In the Blood and Fucking A, are social abjects who are black, impoverished, and illiterate. According to Julia Kristeva, the subject needs to recognize the abject to affirm its integrity. Performing the unnameable abject exposes gaps in signification and thus can be an exercise of rebellion against the Symbolic law. The abject dissolves the subject in jouissance, so jouissance potentially creates the opportunity for the generation of a new identity. The two Hesters enter a state of liminality when they experience jouissance reaching beyond the Symbolic. Hester La Negrita of In the Blood establishes a new identity through a ritual of resistance to social prejudice and oppression. Hester Smith of Fucking A exercises a counter-discourse with “TALK,” which is a liminal and abjectional language. She attains an alternative identity through a resistant, salvational ritual. Both Hesters display Turnerian anti-structure and practice the subversive power of liminality. Both plays end with Artaudian cruel images through which the audience feels jouissance of healing and liberation.
URI
http://hdl.handle.net/YU.REPOSITORY/30767
ISSN
1229-0580
Appears in Collections:
기초교육대학 > 교양학부 > Articles
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