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논문 기본 정보
- 자료유형
- 학술저널
- 저자정보
- 발행연도
- 2021.4
- 수록면
- 145 - 176 (32page)
- DOI
- 10.29163/jmed.2021.4.34.1.145
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초록· 키워드
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This paper attempts an intertextual and intermedial reading of adaptation texts of Pinter’s The Dwarfs, as a series of re-visions in terms of adaptation studies. His first and semi-autobiographical novel has initiated his own adaptations for his radio (1960) and stage play (1963) before publishing its adaptive version (1990) and then Krabbe’s adaptations for his unfilmed film script (1996), his revised play and film versions (2002), and his another play version (2003). The reading of adaptation texts of The Dwarfs offers a re-vision of hegemonic criticisms on Pinter’s accomplishments as a political dramatist and a cryptic feminist, that is, an act of looking back on his writings based on the interrelationship between his politics and sexual politics, from a new critical direction.
This paper demonstrates the adapters’s political and sexual political motivations in inscribing differences in the original and previous texts for their new versions. Pinter’s excluding Virginia, the major female character of the novel for an all-male play shows his intention to create a new genre of political play, comedy of menace, as a political metaphor to appropriate sexual politics. His retrieving Virginia out of the outer darkness in the published novel also proves that his political plays are structured in-between of politics and sexual politics. By presenting his male characters as gendered beings in terms of the hegemonic masculinity and his female character as a precursor of his strong women who can exercise subversive sexual politics in his political plays, he proves that he has been insistently concerned with gender issues as a cryptic feminist. This intertextual reading of various versions of The Dwarfs offers an approach toward Pinter’s new creative space expanded by persistent re-visions.
This paper demonstrates the adapters’s political and sexual political motivations in inscribing differences in the original and previous texts for their new versions. Pinter’s excluding Virginia, the major female character of the novel for an all-male play shows his intention to create a new genre of political play, comedy of menace, as a political metaphor to appropriate sexual politics. His retrieving Virginia out of the outer darkness in the published novel also proves that his political plays are structured in-between of politics and sexual politics. By presenting his male characters as gendered beings in terms of the hegemonic masculinity and his female character as a precursor of his strong women who can exercise subversive sexual politics in his political plays, he proves that he has been insistently concerned with gender issues as a cryptic feminist. This intertextual reading of various versions of The Dwarfs offers an approach toward Pinter’s new creative space expanded by persistent re-visions.
목차
I. 들어가며
II. 핀터의 다시-보기의 정치성과 성정치성
III. 1950년대 미출판 원작 소설 『난쟁이들』과 헤게모니적 남성성 수행
IV. 1960년대 연극 각색 『난쟁이들』: 남자들만의 연극 무대
V. 1990년대 출판 원작 소설 『난장이들』: 억압된 자의 귀환
VI. 2000년대 각색 영화와 연극 『난쟁이들』: 핵크니 시절의 소환
VII. 나가며
인용문헌
Abstract
참고문헌 (38)
참고문헌 신청
Billington, Michael / 2007 / Harold Pinter / Faber and Faber
Billington, Michael / Look Back in Hackney
Billington, Michael / The Foremost Representative of British Drama
Billington, Michael / Obituary: Harold Pinter
Butler, Judith / 1990 / Gender Trouble: Feminism and the Subversion of Identity / Routledge
Billington, Michael / Look Back in Hackney
Billington, Michael / The Foremost Representative of British Drama
Billington, Michael / Obituary: Harold Pinter
Butler, Judith / 1990 / Gender Trouble: Feminism and the Subversion of Identity / Routledge
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