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In Top Girls Churchill's dramatic style identifies the transformation of the three steps in Hegelian dialectic structure thesis, antithesis, synthesis into two steps, the 'conflict' and the 'judgement' phase. Throughout the 'conflict' phase consistently reflecting a tension between top girls and bottom girls, audiences compare the class consciousness that underlies characters' behaviors. Churchill doesn't pass judgement on this conflict but allots room for the audience to recognize 'discourse' in the surface of social structure in terms of class, gender and race. She also uses Brechtian 'historization' in these two steps to emphasise the material condition of classes in relation to gender and history and assess the positive approach through the protagonist Marlene in order to recover these ideologies in the contemporary society.
Churchill demonstrates her socialist feminist issues effectively by transforming the Brechtian epic dramatic style. This unique methodology is also connected with postmodern deconstructionism. She persues new gender identities by deconstructing the identities associated with historical feminine traits as well as ideological ideas formed in this society. Owing to Churchill's dramatic encouragement, the feminist drama, which has been performed around 'fringe' as marginal and radical plays, has entered into the center of the political stage. Her commitment to socialist feminism in revealing dominant ideology in relation to gender and class in this society m akes the audiences conscious of the political meaning of feminist drama, creating a link between dramatic methodology and politics. Churchill's unique and versatile attempts to use the Brechtian epic style to dramatize women's experiences, which can't be expressed properly in male-centered dramatic tradition, will be designated as a desirable therotico-practical methodology to advance feminist drama.
Churchill demonstrates her socialist feminist issues effectively by transforming the Brechtian epic dramatic style. This unique methodology is also connected with postmodern deconstructionism. She persues new gender identities by deconstructing the identities associated with historical feminine traits as well as ideological ideas formed in this society. Owing to Churchill's dramatic encouragement, the feminist drama, which has been performed around 'fringe' as marginal and radical plays, has entered into the center of the political stage. Her commitment to socialist feminism in revealing dominant ideology in relation to gender and class in this society m akes the audiences conscious of the political meaning of feminist drama, creating a link between dramatic methodology and politics. Churchill's unique and versatile attempts to use the Brechtian epic style to dramatize women's experiences, which can't be expressed properly in male-centered dramatic tradition, will be designated as a desirable therotico-practical methodology to advance feminist drama.
목차
Ⅰ. 서론
Ⅱ. 계층의식으로 인한 갈등의 양상 및 모순의 인식
Ⅲ. 변증법적 구조의 열린 결말, 포스트모던 해체주의
Ⅳ. 결론
주
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Abstract
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UCI(KEPA) : I410-ECN-0101-2009-842-015564237