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연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
초록· 키워드
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In Dancing at Lughnasa, Friel returns to Ballybeg, a family drama and memories of childhood. It is a memory play, both biographically and in its formal construction as Michael remembering. The memory of Michael is 'true' yet untrustworthy. Friel has explored the 'tragic space' between these two notions. In the memory of that summer of 1936 in Ballybeg, the nostalgic 'atmosphere is more real than incident and everything is simultaneously actual and illusory'.
In Dancing at Lughnasa, the Dionysian keeps erupting into the Apollonian world of rational order. The opposition between an Apollonian impulse for order and rationality and a Dionysian impulse for chaos and the irrational is figured by the two juxtaposed worlds in Ballybeg. The beliefs of the ancient culture of tribal Uganda where Jack was a missionary in its leper colony and those of rural Ireland clinging in folk memory to the vestiges of the pagan rites have been stifled by the conventions of a thirties Irish Catholic society.
The Mundy sisters are dramatically caught between these two worlds. To highlight their dilemma the action of the play occurs at harvest time, when Ballybeg is celebrating the Festival of Lughnasa, where liberated pagan rituals are set against the repressive forces of the Catholic Church. The wireless Marconi comes to represent a sort of periodic Dionysian intervention in those sisters' lives. Marconi enchants them with music and whips them up into a frenzy of dance, which reveals their deep-seated desire or Dionysian energies for release from repression of all kinds. It is akin to the pagan rites of Lughnasa. The dance releases the life-force and provides a form of expression for their deepest passions which convention has continually denied them. The vestiges of the Lughnasa rituals and the Mundy sisters' wild dance suggest, in addition, that dark subversive forces still lie beneath the strictures and decorum of good Catholic households and religious orthodoxy.
However, there are no Apollonian palliatives or Christian consolations for the Dionysian terrors in this play. The Dionysian is both its own reward and its own destruction. The older culture must die that the new may be reborn. Dancing at Lughnasa is a ceremonial mourning of the passing of the small-town family life that is figured in the Mundy sisters and energized by Marconi, the symbol simultaneously of its vitality and its impending demise at the hands of the instruments of mass culture.
For Friel the paganism in this play is sufficiently generalized to suggest that beneath the veneer of civilization, the Irish soul was fundamentally pagan. In this play, the pagan elements have Celtic or Gaelic identities. And the regenerative power of the Dionysian is somehow dependent on its destructiveness. Part of the emotional appeal of this play is the nostalgia and sadness over what must pass in order to life to go on - the recognition of vitality destined for demise.
The fate of the Mundy sisters casts a long shadow over the recollections of Michael's summer idyll. The promise of summer is overshadowed by dark forebodings which lead to the break up of the family and a tragic end for two of the sisters.
In Dancing at Lughnasa, the Dionysian keeps erupting into the Apollonian world of rational order. The opposition between an Apollonian impulse for order and rationality and a Dionysian impulse for chaos and the irrational is figured by the two juxtaposed worlds in Ballybeg. The beliefs of the ancient culture of tribal Uganda where Jack was a missionary in its leper colony and those of rural Ireland clinging in folk memory to the vestiges of the pagan rites have been stifled by the conventions of a thirties Irish Catholic society.
The Mundy sisters are dramatically caught between these two worlds. To highlight their dilemma the action of the play occurs at harvest time, when Ballybeg is celebrating the Festival of Lughnasa, where liberated pagan rituals are set against the repressive forces of the Catholic Church. The wireless Marconi comes to represent a sort of periodic Dionysian intervention in those sisters' lives. Marconi enchants them with music and whips them up into a frenzy of dance, which reveals their deep-seated desire or Dionysian energies for release from repression of all kinds. It is akin to the pagan rites of Lughnasa. The dance releases the life-force and provides a form of expression for their deepest passions which convention has continually denied them. The vestiges of the Lughnasa rituals and the Mundy sisters' wild dance suggest, in addition, that dark subversive forces still lie beneath the strictures and decorum of good Catholic households and religious orthodoxy.
However, there are no Apollonian palliatives or Christian consolations for the Dionysian terrors in this play. The Dionysian is both its own reward and its own destruction. The older culture must die that the new may be reborn. Dancing at Lughnasa is a ceremonial mourning of the passing of the small-town family life that is figured in the Mundy sisters and energized by Marconi, the symbol simultaneously of its vitality and its impending demise at the hands of the instruments of mass culture.
For Friel the paganism in this play is sufficiently generalized to suggest that beneath the veneer of civilization, the Irish soul was fundamentally pagan. In this play, the pagan elements have Celtic or Gaelic identities. And the regenerative power of the Dionysian is somehow dependent on its destructiveness. Part of the emotional appeal of this play is the nostalgia and sadness over what must pass in order to life to go on - the recognition of vitality destined for demise.
The fate of the Mundy sisters casts a long shadow over the recollections of Michael's summer idyll. The promise of summer is overshadowed by dark forebodings which lead to the break up of the family and a tragic end for two of the sisters.
목차
Ⅰ. 서론
Ⅱ. 기억의 효과
Ⅲ. 아폴로적 세계와 디오니소스적 세계
Ⅳ. 결론
Bibliography
〈Abstract〉
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UCI(KEPA) : I410-ECN-0101-2009-001-019502641