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
- 2002.8
- 수록면
- 139 - 167 (29page)
이용수
초록· 키워드
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Modern American dramas have dealt with the family problems: the conflicts among family members and the disintegration of family. Although the father figure is a center of the family institution, fathers are absent from their family. What is noteworthy is that the absent father on stage is closely connected with family problems.
The connection between the absent father and the lost children provides a key to understanding the meaning of the absence of the father, the relationship between father and son, and the conflict between bereft family members. Williams’s male characters, like Miller’s, escape from their families. However, the absent father still exists in the center of their family, thus becoming a force that propels the play into dramatic actions. Paradoxically, the absence of the father reinforces and perpetuates his presence.
The absence of the father alienates his children from themselves and the world that surrounds them, relegating them to the status of lost children. They live in a wasteland, in a world of nostalgia, and in an illusory world. The lost children search for their fathers; they may become the father, follow in his path, or recreate a part of his life.
In The Glass Menagerie, a photograph of their father is a kind of clue to explain the present life of the family. Everywhere in the Wingfield apartment there can be found traces of the absent father. Amanda, Laura, and Tom cannot overcome the absent father’s influence. The absence of the father places him as a central character. The son has followed this absent father, although he could not find him at all. The father is a focal figure that leads the son toward the absence of the father. The son is longing for the father’s land that can never be reached.
What can be inferred from the above-mentioned text is that the absent character, who never appears on stage, is always represented or mediated through the other people’s discourse and memory. Through the others’ discourse the absent father is represented, and there can be found the absent father at the core of the play. Memory is a kind of the unconscious and can be explained through other people’s discourse.
Staging the absent father, Williams puts an emphasis on the overtones of the absence of the father as logos, language, and power. Symbolizing the origin of meaning, the father image is subsumed by iconic markers or supplement such as a photograph or metonymic signs such as a glass collection.
Ironically the absent father is an index to show some lack in other characters. To fill the lack characters seek for the Lacan’s objet a that is a cause to draw desire. The other characters’ desire is the desire of the Other. Like language the characters’ desire is structuralized, from which they cannot escape. Their desire produces another desire inexplicably and interminably. The desire toward the absent father cannot be fulfilled in the structure of endless circulation.
Representing the absent father, the others’ discourse enlarges and reaffirms the father figure as the center of language and social and cultural institutions. In this sense, the image of the absent father is not deleting or burying the father figure, but redeeming and magnifying the authority of father everlastingly.
The connection between the absent father and the lost children provides a key to understanding the meaning of the absence of the father, the relationship between father and son, and the conflict between bereft family members. Williams’s male characters, like Miller’s, escape from their families. However, the absent father still exists in the center of their family, thus becoming a force that propels the play into dramatic actions. Paradoxically, the absence of the father reinforces and perpetuates his presence.
The absence of the father alienates his children from themselves and the world that surrounds them, relegating them to the status of lost children. They live in a wasteland, in a world of nostalgia, and in an illusory world. The lost children search for their fathers; they may become the father, follow in his path, or recreate a part of his life.
In The Glass Menagerie, a photograph of their father is a kind of clue to explain the present life of the family. Everywhere in the Wingfield apartment there can be found traces of the absent father. Amanda, Laura, and Tom cannot overcome the absent father’s influence. The absence of the father places him as a central character. The son has followed this absent father, although he could not find him at all. The father is a focal figure that leads the son toward the absence of the father. The son is longing for the father’s land that can never be reached.
What can be inferred from the above-mentioned text is that the absent character, who never appears on stage, is always represented or mediated through the other people’s discourse and memory. Through the others’ discourse the absent father is represented, and there can be found the absent father at the core of the play. Memory is a kind of the unconscious and can be explained through other people’s discourse.
Staging the absent father, Williams puts an emphasis on the overtones of the absence of the father as logos, language, and power. Symbolizing the origin of meaning, the father image is subsumed by iconic markers or supplement such as a photograph or metonymic signs such as a glass collection.
Ironically the absent father is an index to show some lack in other characters. To fill the lack characters seek for the Lacan’s objet a that is a cause to draw desire. The other characters’ desire is the desire of the Other. Like language the characters’ desire is structuralized, from which they cannot escape. Their desire produces another desire inexplicably and interminably. The desire toward the absent father cannot be fulfilled in the structure of endless circulation.
Representing the absent father, the others’ discourse enlarges and reaffirms the father figure as the center of language and social and cultural institutions. In this sense, the image of the absent father is not deleting or burying the father figure, but redeeming and magnifying the authority of father everlastingly.
목차
Ⅰ. 서론
Ⅱ. 아버지의 부재
Ⅲ. 아만다의 향수
Ⅳ.??로라의 대상 a
Ⅴ. 톰의 도피
Ⅵ.?결론
주
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UCI(KEPA) : I410-ECN-0101-2009-842-015466136