지원사업
학술연구/단체지원/교육 등 연구자 활동을 지속하도록 DBpia가 지원하고 있어요.
커뮤니티
연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
논문 기본 정보
- 자료유형
- 학술저널
- 저자정보
- 발행연도
- 2011.8
- 수록면
- 167 - 195 (29page)
이용수
초록· 키워드
오류제보하기
True West(1980), written by Sam Shepard, belongs to his trilogy, including Curse of the Starving Class(1976) and Buried Child(1978). In this play, Lee and Austin are two sons of a father who does not appear on the stage. The relationship between father and two sons is a recurrent theme found in many American plays. The two sons are alter egos of their father. In True West, Lee is a desert rat whereas Austin is a successful writer in Hollywood.
Absent father theme is a salient leitmotif among some representative American plays since this theme refers to malfunction and disintegration of a family where fathers left for their family, searching for their oppressed masculinity. Struggle and conflict between a father and two sons shows ambivalent feelings of complaints about and longing for their father. In this respect, bereft two sons search for and trace their father’s path.
The producer, Saul Kimmer, chose Lee’s script rather than Austin’s because Lee’s endorses its authenticity. Lee’s authentic story is about the West which is real as told by Lee. Moreover, Kimmer’s decision of degrading Austin as a ghost writer seems to guarantee commercial success in the Hollywood mass culture.
The West and his father’s false teeth are of significance in that both of them provide the sons with lack of lack. Their conflict is accelerated when they search for the authenticity of the West, which is written by ghost writer Austin based on the story produced by Lee. More specifically, Austin’s lack of experiencing to live in the West triggers to move towards the West. In particular, the West is an idealistic land where their father exists so that his sons would like to follow their father in order to ensure their masculinity.
In so doing, they consume the image of the West since it is the very place where their father left for them and draws their imagination. As an imaginative place for the American Dream, the West is a simulacre for it continues to produce just false images. Also, the signifier, “the West” itself, is shown through the last scene, implying a variety of signifieds without ending. The final scene of confronting each other represents a still and eternal image of coyotes in the desert field, which is not supposed to end.
Absent father theme is a salient leitmotif among some representative American plays since this theme refers to malfunction and disintegration of a family where fathers left for their family, searching for their oppressed masculinity. Struggle and conflict between a father and two sons shows ambivalent feelings of complaints about and longing for their father. In this respect, bereft two sons search for and trace their father’s path.
The producer, Saul Kimmer, chose Lee’s script rather than Austin’s because Lee’s endorses its authenticity. Lee’s authentic story is about the West which is real as told by Lee. Moreover, Kimmer’s decision of degrading Austin as a ghost writer seems to guarantee commercial success in the Hollywood mass culture.
The West and his father’s false teeth are of significance in that both of them provide the sons with lack of lack. Their conflict is accelerated when they search for the authenticity of the West, which is written by ghost writer Austin based on the story produced by Lee. More specifically, Austin’s lack of experiencing to live in the West triggers to move towards the West. In particular, the West is an idealistic land where their father exists so that his sons would like to follow their father in order to ensure their masculinity.
In so doing, they consume the image of the West since it is the very place where their father left for them and draws their imagination. As an imaginative place for the American Dream, the West is a simulacre for it continues to produce just false images. Also, the signifier, “the West” itself, is shown through the last scene, implying a variety of signifieds without ending. The final scene of confronting each other represents a still and eternal image of coyotes in the desert field, which is not supposed to end.
목차
Ⅰ. 들어가며
Ⅱ. 대립의 양상과 의미
Ⅲ. 아버지의 부재와 결핍
Ⅳ. 서부라는 대상 α
Ⅴ. 나가며
인용문헌
Abstract
참고문헌 (21)
참고문헌 신청
1. [단행본] - 보드리야르, 쟝 / 2001 / 시뮬라시옹 / 서울: 민음사
2. [단행본] - DeRose, David J / 1993 / A Kind of Cavorting: Superpresence and Shepard’s Family Dramas Rereading Shepard / London: St. Martin : 131 ~ 149
3. [단행본] - DeRose, David J / 1992 / Sam Shepard / New York: Twayne
4. [단행본] - Evans, Dylan / 1996 / An Introductory Dictionary of Lacanian Psychoanalysis / London: Routledge
5. [단행본] - Fink, Bruce / 1995 / Lacanian Subject: Between Language and Jouissance / Princeton, NJ: Princeton UP
2. [단행본] - DeRose, David J / 1993 / A Kind of Cavorting: Superpresence and Shepard’s Family Dramas Rereading Shepard / London: St. Martin : 131 ~ 149
3. [단행본] - DeRose, David J / 1992 / Sam Shepard / New York: Twayne
4. [단행본] - Evans, Dylan / 1996 / An Introductory Dictionary of Lacanian Psychoanalysis / London: Routledge
5. [단행본] - Fink, Bruce / 1995 / Lacanian Subject: Between Language and Jouissance / Princeton, NJ: Princeton UP
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