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학술연구/단체지원/교육 등 연구자 활동을 지속하도록 DBpia가 지원하고 있어요.
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연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
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Murders committed by females have always attracted public attention and caused a great deal of sensation because the crime challenges the traditional concept of femininity which requires that women should be submissive, gentle, and nurturing. As a result, the criminal acts committed by women are sometimes attributed to their insanity and abnormality. This paper aims to study three plays which delineate female criminals--Trifles, Machinal, and Crimes of the Heart--and discuss how the playwrights look at the murder cases in the play from the feminist perspective.
These plays share a similar pattern of characterization in that the husbands are depicted as pillars of the society while their wives are considered strange, queer, and sometimes insane. However, the playwrights of these plays reveal that these women are driven to the act of murder by the cruel treatment they had to suffer under the tyranny of their husbands. They ask the reader/audience to look at the truth hidden under the surface of the murder cases.
Trifles is based on the experience of Susan Glaspell who, as a reporter, covered the John Hossack murder case. Sixteen years after the incident, Glaspell changes the venue to the theatrical stage to give Margaret Hossack a fair trial. However, since the couple remains off-stage, the recognition and enlightenment come to two female characters who, after realizing what really happened, willingly become accomplices to the case by hiding the important clues and evidence. Sophie Treadwell's Machin!, which is also based on an actual murder case, presents the predicament and the suffocating inner reality of the female protagonist, Helen, through the expressionistic devices. Confined and victimized by such patriarchal institutions as work place, marriage, hospital, court and their male representatives, Helen finally resorts to killing her husband to be freed from their constraints. In Crimes of the Heart Babe's attempt to kill her husband also hits the newspaper headlines of Hazlehurst, a small Southern town where the play is set. However, in contrast to the female characters in the first two plays whose crimes were acts of rebellion and self-definition, Babe shoots her husband only when she directs her self-destructive impulse toward her husband. It is through the encouragement and understanding of her sisters that Babe recovers from the aftermath and develops into an autonomous human being.
These plays share a similar pattern of characterization in that the husbands are depicted as pillars of the society while their wives are considered strange, queer, and sometimes insane. However, the playwrights of these plays reveal that these women are driven to the act of murder by the cruel treatment they had to suffer under the tyranny of their husbands. They ask the reader/audience to look at the truth hidden under the surface of the murder cases.
Trifles is based on the experience of Susan Glaspell who, as a reporter, covered the John Hossack murder case. Sixteen years after the incident, Glaspell changes the venue to the theatrical stage to give Margaret Hossack a fair trial. However, since the couple remains off-stage, the recognition and enlightenment come to two female characters who, after realizing what really happened, willingly become accomplices to the case by hiding the important clues and evidence. Sophie Treadwell's Machin!, which is also based on an actual murder case, presents the predicament and the suffocating inner reality of the female protagonist, Helen, through the expressionistic devices. Confined and victimized by such patriarchal institutions as work place, marriage, hospital, court and their male representatives, Helen finally resorts to killing her husband to be freed from their constraints. In Crimes of the Heart Babe's attempt to kill her husband also hits the newspaper headlines of Hazlehurst, a small Southern town where the play is set. However, in contrast to the female characters in the first two plays whose crimes were acts of rebellion and self-definition, Babe shoots her husband only when she directs her self-destructive impulse toward her husband. It is through the encouragement and understanding of her sisters that Babe recovers from the aftermath and develops into an autonomous human being.
목차
Ⅰ. 남편과 아내: 사회의 지주와 미친 여자
Ⅱ. 다시 쓴 살인사건
Ⅲ. 여성주의 연극으로 본 세 작품
주
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