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
- 2002.12
- 수록면
- 149 - 170 (22page)
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A Moon for the Misbegotten is one of the most difficult plays of Eugene O’Neill to present on the stage. Ever since its first presentation, the difficulty of casting the role of Josie Hogan has been mentioned continuously. Her duality in body as well as in self-image makes it almost impossible to present Josie just as O’Neill describes her.
However, if we notice that this is an autobiographical play dealing with the writer’s brother, Jamie, and also there are plentiful similarities between Josie and James Tyrone―a character whose model is obviously O’Neill’s brother Jamie, it could be easily understood that Josie is Jamie’s alter―ego as she is Jim’s another one. Projecting Jim’s/Jamie’s masculine qualities as well as his contradictory self-image onto Josie, O’Neill is transferring his feelings he has had toward Jamie onto Josie. So Josie’s duality is a result of the writer’s defense mechanism―psychological projection as well as emotional transference.
At five feet eleven and one hundred and eighty pounds Josie is so oversized that her body seems to be a man’s instead of a woman’s. In addition, the superior physical power of her body provides her with much more masculinity than femininity. However, as O’Neill emphasizes, her body is also feminine. Especially her big breasts make it impossible to deny the feminine elements of her body either. So it could be said that her body is instead of male or female almost hermaphroditic.
Josie’s body has been usually interpreted as a symbol of Mother Earth without mentioning its masculine qualities. But her body’s masculinity should not be ignored as it has many similar qualities to that of Jim’s. The chief difference between Josie and Jim’s bodies is only that Jim lost his physical strength and health due to dissipation by drinking and self-abuse, rather than a feminine or masculine aspect. So by projecting masculinity excessively on Josie’s body, a strong one that Jim had once, O’Neill is insisting that Jim could have kept a healthy and strong body too if he hadn’t wasted his strength and health by drinking. By doing so, O’Neill is making an emotional transference of his pity for his brother Jamie, who gradually lost his health and fine physique, finally to die young.
The duality of Josie’s body is reinforced by her dual self-image. Her outer self―“persona”―is absolutely different from her inner “self.” Throughout the play Josie is considered as a whore by her family members. Moreover, she is defined by her brother as a cunning and deceitful person. When she tries to seduce Jim in order to get his farm, it seems that her outer persona is not so different from her inner self.
However, her inner self is absolutely different from her outer self. First of all, she is far from a wanton woman. As she confesses to Jim in Act III, she is a pure virgin who has kept her love for Jim faithfully and devotedly. Moreover, she is a very kind and devoted sister and a daughter who willingly sacrifices herself for her family.
The duality of her inner and outer self is caused by the writer’s psychological projection in the sense that Jim’s outer self is similar to Josie’s outer self as his inner self is similar to Josie’s inner one. Unhappy to examine his brother Jamie’s outer self, O’Neill is projecting it on Josie’s and Jim’s outer selves. By doing so, he is expecting that Jamie’s persona also can be re-examined to reveal his pure and positive inner self as Josie’s negative persona did. So the duality of Josie’s inner and outer self can be considered to come as a result of O’Neill’s emotional transference.
In the sense that the duality of Josie’s body and her self-image is a result of psychological projection and emotional transference of the writer’s to purify his passions for his brother, there is no need to cling tightly to the size of Josie’s body or to represent it literally as any certain size or shape. By creating Josie as one so similar to Jim/Jamie in her outward body, as well as in her inner self-image, and by projecting many masculine qualities, as well as a dual self-image to Josie, O’Neill is achieving the transference of his pity and understanding for his brother’s loss, a thing that he could not accept for a long time.
However, if we notice that this is an autobiographical play dealing with the writer’s brother, Jamie, and also there are plentiful similarities between Josie and James Tyrone―a character whose model is obviously O’Neill’s brother Jamie, it could be easily understood that Josie is Jamie’s alter―ego as she is Jim’s another one. Projecting Jim’s/Jamie’s masculine qualities as well as his contradictory self-image onto Josie, O’Neill is transferring his feelings he has had toward Jamie onto Josie. So Josie’s duality is a result of the writer’s defense mechanism―psychological projection as well as emotional transference.
At five feet eleven and one hundred and eighty pounds Josie is so oversized that her body seems to be a man’s instead of a woman’s. In addition, the superior physical power of her body provides her with much more masculinity than femininity. However, as O’Neill emphasizes, her body is also feminine. Especially her big breasts make it impossible to deny the feminine elements of her body either. So it could be said that her body is instead of male or female almost hermaphroditic.
Josie’s body has been usually interpreted as a symbol of Mother Earth without mentioning its masculine qualities. But her body’s masculinity should not be ignored as it has many similar qualities to that of Jim’s. The chief difference between Josie and Jim’s bodies is only that Jim lost his physical strength and health due to dissipation by drinking and self-abuse, rather than a feminine or masculine aspect. So by projecting masculinity excessively on Josie’s body, a strong one that Jim had once, O’Neill is insisting that Jim could have kept a healthy and strong body too if he hadn’t wasted his strength and health by drinking. By doing so, O’Neill is making an emotional transference of his pity for his brother Jamie, who gradually lost his health and fine physique, finally to die young.
The duality of Josie’s body is reinforced by her dual self-image. Her outer self―“persona”―is absolutely different from her inner “self.” Throughout the play Josie is considered as a whore by her family members. Moreover, she is defined by her brother as a cunning and deceitful person. When she tries to seduce Jim in order to get his farm, it seems that her outer persona is not so different from her inner self.
However, her inner self is absolutely different from her outer self. First of all, she is far from a wanton woman. As she confesses to Jim in Act III, she is a pure virgin who has kept her love for Jim faithfully and devotedly. Moreover, she is a very kind and devoted sister and a daughter who willingly sacrifices herself for her family.
The duality of her inner and outer self is caused by the writer’s psychological projection in the sense that Jim’s outer self is similar to Josie’s outer self as his inner self is similar to Josie’s inner one. Unhappy to examine his brother Jamie’s outer self, O’Neill is projecting it on Josie’s and Jim’s outer selves. By doing so, he is expecting that Jamie’s persona also can be re-examined to reveal his pure and positive inner self as Josie’s negative persona did. So the duality of Josie’s inner and outer self can be considered to come as a result of O’Neill’s emotional transference.
In the sense that the duality of Josie’s body and her self-image is a result of psychological projection and emotional transference of the writer’s to purify his passions for his brother, there is no need to cling tightly to the size of Josie’s body or to represent it literally as any certain size or shape. By creating Josie as one so similar to Jim/Jamie in her outward body, as well as in her inner self-image, and by projecting many masculine qualities, as well as a dual self-image to Josie, O’Neill is achieving the transference of his pity and understanding for his brother’s loss, a thing that he could not accept for a long time.
목차
Ⅰ. 들어가는 말
Ⅱ. 몸을 통해서 본 조시의 이중성
Ⅲ. 자아상을 통해서 본 조시의 이중성
Ⅳ. 맺는 말
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