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.
이용수
초록· 키워드
오류제보하기
This article aims to analyze Brian Friel’s Faith Healer(1979) in terms of a reconstruction of three characters’ postmodern memory and to apply them in the interpretation of the contradictory discourses in postcolonial Ireland. Friel deepens and sophisticates his understanding of how each character’s conflicting desire and obsession constructs their shared experience of the past in different languages/narratives/fictions.
In four separate monologues, three characters－Frank Hardy, the faith healer; Frank’s wife, Grace; Teddy, his manager－remember their experience of wandering faith-healing missions in Wales and Scotland. Their memories, however, do not coincide in the key events they participated in. The discrepancy of their memories results from their different desire or need reflected in their versions of the events. Frank is obsessed with his talent, and so his version is distorted by his egocentric obsession. Grace is obsessed with Frank, and her version always focuses on her life with Frank. Teddy is obsessed with both of them, but cannot recognize or articulate his real feelings under the disguise of his professional principle. Friel, however, gives us no independent verification of these three different ‘postmodern’ memories by providing neither a center nor an authenticity to any of them. He just shows the way how desire edits and censors the memories. The meaning of the play lies in the discrepancy of their contradictory versions.
At the same time, Faith Healer characterizes individual memory not only as a verbal fiction of the past but a social/national/historical fiction of the past. Friel’s perception about individual memories can also be applied to his views on a larger social context. Most of Friel’s plays, after the 1980s, in particular, focus on the lack of agreement between social/national fiction or discourses. This may indicate neither the colonizer’s fictive history itself nor the mythologized history of the colonized Ireland is a singular History or meta-narrative, and that there have been plural written histories and conflicting little-narratives.
Friel and his Field Day colleagues hope to demythologize the old histories and myths that have caused the cultural and political disharmony, and divided the country today. Friel hopes to create the fifth province of imagination that can unite Ireland together through his plays.
In four separate monologues, three characters－Frank Hardy, the faith healer; Frank’s wife, Grace; Teddy, his manager－remember their experience of wandering faith-healing missions in Wales and Scotland. Their memories, however, do not coincide in the key events they participated in. The discrepancy of their memories results from their different desire or need reflected in their versions of the events. Frank is obsessed with his talent, and so his version is distorted by his egocentric obsession. Grace is obsessed with Frank, and her version always focuses on her life with Frank. Teddy is obsessed with both of them, but cannot recognize or articulate his real feelings under the disguise of his professional principle. Friel, however, gives us no independent verification of these three different ‘postmodern’ memories by providing neither a center nor an authenticity to any of them. He just shows the way how desire edits and censors the memories. The meaning of the play lies in the discrepancy of their contradictory versions.
At the same time, Faith Healer characterizes individual memory not only as a verbal fiction of the past but a social/national/historical fiction of the past. Friel’s perception about individual memories can also be applied to his views on a larger social context. Most of Friel’s plays, after the 1980s, in particular, focus on the lack of agreement between social/national fiction or discourses. This may indicate neither the colonizer’s fictive history itself nor the mythologized history of the colonized Ireland is a singular History or meta-narrative, and that there have been plural written histories and conflicting little-narratives.
Friel and his Field Day colleagues hope to demythologize the old histories and myths that have caused the cultural and political disharmony, and divided the country today. Friel hopes to create the fifth province of imagination that can unite Ireland together through his plays.
목차
등록된 정보가 없습니다.
참고문헌 (0)
참고문헌 신청함께 읽어보면 좋을 논문
논문 유사도에 따라 DBpia 가 추천하는 논문입니다. 함께 보면 좋을 연관 논문을 확인해보세요!
-
브라이언 프리엘의 신앙치료사: 예술가에 대한 은유
한국 예이츠 저널
2007 .01
-
기억의 무대화와 퍼포먼스 방식- 브라이언 프리엘(Brian Friel)의 작품에 나타난 개인 기억과 집단 기억을 중심으로
영어권문화연구
2017 .01
-
브라이언 프리엘의 식민주체구성과 혼종성 : Translations를 중심으로
현대영미드라마
2010 .08
-
브라이언 프리엘의 Making History : 역사 혹은 이야기 만들기
현대영미드라마
2006 .12
-
역사 탈/신화화하기 : 브라이언 프리엘의 『역사 만들기』를 중심으로
새한영어영문학
2005 .11
-
브라이언 프릴의 『역사 만들기』: 텍스트화 과정으로서의 역사 이해
신영어영문학
2010 .11
-
프리엘의 『번역』에 나타난 이름붙이기
한국 예이츠 저널
2013 .01
-
Remembering Differently : Historical Facts and Dramatic Truth in Brian Friel’s Translations
현대영미드라마
2008 .04
-
Awareness of Space as a Theatrical Dramaturgy and Divided Self in Brian Friel's Plays
영어권문화연구
2012 .01
-
브라이언 프리엘의 『번역들』에 나타난 언어의 본질
인문학논총
2001 .02
-
브라이언 프리엘의 The Freedom of the City : 지배층의 폭력과 서민의 삶
현대영미드라마
2006 .12
-
『도시의 자유』(The Freedom of the City)를 통해 본 프리엘의 포스트모던적 역사관
인문과학연구
2011 .12
-
브라이언 프리엘의 『몰리 스위니』 : 아일랜드의 과거와 현재 재조명하기
새한영어영문학
2003 .11
-
탈식민주의 관점에서 본 『비상 통보줄』
인문학논총
2005 .08
-
브라이언 프리엘과 오태석의 극에 나타난 역사 재현에 대한 인식 비교
동서비교문학저널
2011 .12
-
A Brechtian Scene in Modern Irish Drama: Brian Friel’s Dancing at Lughnasa
한국 예이츠 저널
2013 .01
-
프리엘의 극에 나타난 서벌턴 그리고 기억/회상의 무대화하기
영어권문화연구
2011 .01
-
Brian Friel의 The Freedom of the City : 역사 다시 쓰기
현대영미드라마
2001 .04
-
브라이언 프리엘의 『귀족』에 나타난 남성 권력과 여성 젠더
새한영어영문학
2010 .11
-
Molly, an Irish Subaltern or English?: The Tragedy of Ireland in Friel’s Molly Sweeney
한국 예이츠 저널
2014 .01
이 논문의 저자 정보
이 논문과 함께 이용한 논문
최근 본 자료
댓글(0)
0
UCI(KEPA) : I410-ECN-0101-2009-842-014716711