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
- 2014.12
- 수록면
- 131 - 164 (34page)
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초록· 키워드
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This essay reviews David Rabe’s Sticks and Bones (1971) in the light of family melodrama and trauma theories. It offers an alternative reading of the play in opposition to the dominant view which takes the drama as a social commentary of the 1970s America, particularly of the middles class captivated by capitalistic materialism and manipulative mass media. Such a synchronic perspective enacts top-down approaches to the text only to repeat the preconceived social criticisms in the final analysis. This study proposes a historical or diachronic perspective in conjunction with bottom-up approaches for the interpretation of the narrative and character traits.
Featuring the story of conflictual family relationships, Sticks and Bones follows the tradition of American family melodrama. This study initially examines Eugene O’Neill’s Long Day’s Journey into Night (1941) to show that the family melodrama presumes continuities from the past to the present, consciousness to unconsciousness and the individual to the group. Sticks and Bones deviates from the genre convention by replacing the take-for-granted unities with traumatic ruptures. The plot unfolds psychic confrontations between a Vietnam veteran and his families. The returned soldier, David, has experienced in war crimes the shattering of his world upheld by familism and nationalism. However, his parents, Ozzie and Harriet, strive to recuperate their son’s pre-war identity. It is argued that the parents see their son’s war trauma as a curable illness while the latter questions the ideological grounds of human identity such as the family and the nation-state. The dual aspects of psychological trauma, mimetic and diegetic, are introduced to compare the two distinctive positions.
The final discussion elaborates on David’s messages to maintain that his spiritual odyssey outside of familism and nationalism presages the global state after 9/11. Wars and terrorisms have nullified state protection, mass-producing prisoners and refugees. David’s trauma in Sticks and Bones has become part of our daily experiences. The conclusion is that David’s flight from the dominant ideologies inspires us to imagine new forms of human relationship and collective identity.
Featuring the story of conflictual family relationships, Sticks and Bones follows the tradition of American family melodrama. This study initially examines Eugene O’Neill’s Long Day’s Journey into Night (1941) to show that the family melodrama presumes continuities from the past to the present, consciousness to unconsciousness and the individual to the group. Sticks and Bones deviates from the genre convention by replacing the take-for-granted unities with traumatic ruptures. The plot unfolds psychic confrontations between a Vietnam veteran and his families. The returned soldier, David, has experienced in war crimes the shattering of his world upheld by familism and nationalism. However, his parents, Ozzie and Harriet, strive to recuperate their son’s pre-war identity. It is argued that the parents see their son’s war trauma as a curable illness while the latter questions the ideological grounds of human identity such as the family and the nation-state. The dual aspects of psychological trauma, mimetic and diegetic, are introduced to compare the two distinctive positions.
The final discussion elaborates on David’s messages to maintain that his spiritual odyssey outside of familism and nationalism presages the global state after 9/11. Wars and terrorisms have nullified state protection, mass-producing prisoners and refugees. David’s trauma in Sticks and Bones has become part of our daily experiences. The conclusion is that David’s flight from the dominant ideologies inspires us to imagine new forms of human relationship and collective identity.
목차
들어가며
가족멜로드라마 전통과의 비교: 『밤으로의 긴 여로』 (LongDay‘sJourneyintoNight)를 중심으로
두 개의 트라우마
베트남소녀 또는 “벌거벗은 인간”
글을 마치며
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UCI(KEPA) : I410-ECN-0101-2016-842-001022643