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Friel’s overriding concern is to examine the contemporary crisis of language as a medium of communication and representation. The linguistic capacity to conceal, misinform, leave ambiguous, hypothesize, invent is indispensable to the equilibrium of man in society.
From Steiner’s postmodern viewpoint we speak as much to conceal as to communicate. He explains how communications always include what is not said in the saying, what is said only partially, allusively or with intent to screen.
This play is a hilarious farce at the expense of traditional Irish nationalism. Tim, a young linguist, has been persuaded by his friend Jack to borrow his family's restored thatched cottage in Donegal to impress Senator Donovan, the nationalist, antiquarian father of Susan, Tim's current girlfriend. Tim may have the cottage for an hour because Jack has invited his new romantic interest Evette to spend the weekend with him there. When Tim and Jack arrive at the cottage they discover that Claire, a friend of Jack's sister and a former girlfriend of both Jack and Tim, already staying there. The plot revolves around the many complications and obstacles that frustrate Tim’s and Jack’s scheme of deception.
Friel’s stage directions tell us that one quickly senses something false about the restored traditional Irish cottage. It is an artefact of today making obeisance to a home of yesterday. It has its psychological counterpart in the pietistic attitudes of the traditional nationalism the cottage represents. These attitudes are held mainly by the older generation, represented by Jack’s father and Senator Donovan. In the process of demonstrating how the cow was chained to the post, he chains himself literally to his memory when the rusty clasp on the chain refuses to open. This incident implies that traditional nationalism is an anachronistic reproduction that chains the Irish unproductively to their past.
Friel develops his thinking about language as lie in this play. It is a wild farce of mistaken identities and fabricated images, all deliberately contrived to satisfy the immediate needs of each of the characters. Tim is writing a thesis on discourse analysis based on the popular assumption that people converse by exchanging units of information that constitute a message according to an agreed code. The lies, charades, and wild fictions that follow completely refute this naive, positivist model of discourse. At the end of the play, Tim realizes he may have to rethink his thesis, as he arrives at some conclusions that typically characterize the language of colonials and postcolonials who are accustomed to focusing, not on the content of an utterance, but on the addressee or the occasion, conclusions such as “maybe the message doesn’t matter at all” and “it’s the occasion that matters” or “the reverberations that the occasion generates”: or perhaps what matters is “the desire to sustain the occasion,” or “saying anything, that keeps the occasion going.” He even suspects that “maybe even saying nothing ... maybe silence is the perfect discourse”.
From Steiner’s postmodern viewpoint we speak as much to conceal as to communicate. He explains how communications always include what is not said in the saying, what is said only partially, allusively or with intent to screen.
This play is a hilarious farce at the expense of traditional Irish nationalism. Tim, a young linguist, has been persuaded by his friend Jack to borrow his family's restored thatched cottage in Donegal to impress Senator Donovan, the nationalist, antiquarian father of Susan, Tim's current girlfriend. Tim may have the cottage for an hour because Jack has invited his new romantic interest Evette to spend the weekend with him there. When Tim and Jack arrive at the cottage they discover that Claire, a friend of Jack's sister and a former girlfriend of both Jack and Tim, already staying there. The plot revolves around the many complications and obstacles that frustrate Tim’s and Jack’s scheme of deception.
Friel’s stage directions tell us that one quickly senses something false about the restored traditional Irish cottage. It is an artefact of today making obeisance to a home of yesterday. It has its psychological counterpart in the pietistic attitudes of the traditional nationalism the cottage represents. These attitudes are held mainly by the older generation, represented by Jack’s father and Senator Donovan. In the process of demonstrating how the cow was chained to the post, he chains himself literally to his memory when the rusty clasp on the chain refuses to open. This incident implies that traditional nationalism is an anachronistic reproduction that chains the Irish unproductively to their past.
Friel develops his thinking about language as lie in this play. It is a wild farce of mistaken identities and fabricated images, all deliberately contrived to satisfy the immediate needs of each of the characters. Tim is writing a thesis on discourse analysis based on the popular assumption that people converse by exchanging units of information that constitute a message according to an agreed code. The lies, charades, and wild fictions that follow completely refute this naive, positivist model of discourse. At the end of the play, Tim realizes he may have to rethink his thesis, as he arrives at some conclusions that typically characterize the language of colonials and postcolonials who are accustomed to focusing, not on the content of an utterance, but on the addressee or the occasion, conclusions such as “maybe the message doesn’t matter at all” and “it’s the occasion that matters” or “the reverberations that the occasion generates”: or perhaps what matters is “the desire to sustain the occasion,” or “saying anything, that keeps the occasion going.” He even suspects that “maybe even saying nothing ... maybe silence is the perfect discourse”.
목차
Ⅰ. 서론
Ⅱ
Ⅲ. 결론
인용문헌
Abstract
참고문헌 (14)
참고문헌 신청
[학술지(정기간행물)] - / 1997 / 브라이언 프리엘의 번역-조지 스타이너의 바벨이후에와 의사소통으로서의 번역의 문제 8 : 75 ~ 95
[학술지(정기간행물)] - / 1998 / 하이데거의 언어사상
[학술지(정기간행물)] - / 1995 / .The Art of Brian Friel:Neither Reality Nor Dreams
[학술지(정기간행물)] - / 1982 / “In Search of a Story” programme note for The Communication Cord
[학술지(정기간행물)] - / 1997 / Brian Friels Uses of Laughter:Brian Friel A Casebook : 117 ~ 34
[학술지(정기간행물)] - / 1998 / 하이데거의 언어사상
[학술지(정기간행물)] - / 1995 / .The Art of Brian Friel:Neither Reality Nor Dreams
[학술지(정기간행물)] - / 1982 / “In Search of a Story” programme note for The Communication Cord
[학술지(정기간행물)] - / 1997 / Brian Friels Uses of Laughter:Brian Friel A Casebook : 117 ~ 34
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UCI(KEPA) : I410-ECN-0101-2009-842-015464632