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샘 셰퍼드의 작품에 나타난 부친 시해의 의미『성령처럼』, 『고 헨리 모쓰씨』,『말 못하는 혀』에 대한 정신분석학적 고찰
남정섭(Nam Jeongsub) 한국영미어문학회 2008 영미어문학 Vol.- No.86
The absence of father is one of the issues most frequently visited by Sam Shepard; fathers absent from their home and wandering in exile in the desert are found in many works of Shepard such as Holy Ghostly (1969), True West (1980), Fool for Love (1983), Silent Tongue (1992), The Late Henry Moss (2000), and more. Patricide appears, in his works, as just one of many strategies to make fathers absent even though it sounds an extremely unethical crime. In fact, Shepard"s world seems to present profound perversity and uncomfortable strangeness to realistic eyes. We must understand that mythical and psychological stages are what he aimed to create not realistic ones since he tried to produce modern myths about those who psychologically struggle to cope with the symbolic world of modern times. This paper analyzes Holy Ghostly, The Late Henry Moss, and Silent Tongue in order to argue that first, patricide is a symbolic death of the imaginary father; second, the murdered father and the murderous son can enter the symbolic order by the death of the father; third, an imaginary association with the outdated ideology of Eurocentric machoism is the other side of the fathers who identity themselves with and keep hold of the ideology.
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남정섭(Jeongsub Nam) 한국영미어문학회 2011 영미어문학 Vol.- No.98
The close relationship between life and death has been scrutinized by leading scholars. George Bataille intertwined death with erotism arguing both of them are plethora and violence. Sigmund Freud, in his investigation of libidinal drives, concluded that the life drive, Eros, and the death drive, Thanatos, are inseparable. Edward Albee dramatized the issues of death and violence in his early plays. From the late 1960s to the 1980s, he continued to examine the matter of death along with those of marriage life and sexuality. His incessant investigation of the topics prepared him to write Three Tall Women in 1991, which faces them in a bold and constructive way with an imagery language. The two-act play realistically portrays the characters in the first act and expressionistically presents them in the second act. The main character, A, who is dying, goes through the stages of dying suggested by Elizabeth Kubler-Ross and eventually reaches the stage of acceptance and understanding. While undergoing the stages of dying, A and the other two characters talk of their erotic experiences in the past. To them, death plays the role of offering a chance to gain deeper insight on life. In the end, the play presents us harmony between and wisdom about death and life.
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Jeongsub Nam(남정섭) 영남대학교 인문과학연구소 2010 人文硏究 Vol.- No.60
물신주의란 개념은 프랑크푸르트 학파의 비판 이론에서 활발하게 다루어졌고 이 학파의 영향을 받은 영국의 문화 이론가인 스튜어트 홀을 비롯한 많은 문화 연구가들에 의해서 널리 보급되었다. 물신주의의 본질 중의 하나가 사물로 기호를 대체하는 것인데 이러한 근본적인 성질이 물신주의란 용어가 다양한 분야에서 널리 사용되는 가운데 망각되거나 소홀히 인식되어왔다. 스튜어트 홀 역시 물신주의에 대한 논의에서 물신주의를 사물을 사물로 대체하는 관행이라 파악하였다. 따라서 물신주의란 용어를 만든 인류학과 이 용어를 확립한 칼 막스의 정치경제학과 프로이트의 정신분석학에서 전개한 이 용어에 대한 논의를 정리하고 이 정리와 홀의 논의를 비교하여 사물로 기호를 대체하는 물신주의의 본성을 살필 필요가 있다. 이렇게 물신주의가 가진 본성을 인식하는 것은 물신주의 관행이 지니는 거부와 인정의 이중성, 성공과 실패의 공존, 부정과 긍정의 변증법이란 또 다른 중요한 본질을 깨닫게 한다. 이러한 긍정과 부정의 공존이야말로 물신주의가 발생하고 반복적으로 작용하게 함으로써 물신주의에 가치를 부여한다. The terms of fetishism and the fetish have been widely used in cultural studies related researches. Their versatility far exceeds accuracy in recognizing a key theoretical element of them. It will be worthwhile to examine the three fields, anthropology, Karl Marx’s critique of political economy, and Freud’s psychoanalysis, which are responsible for creating and establishing the concept of fetishism, and to juxtapose this examination with Stuart Hall’s discussion of fetishism. This comparison will underline that fetishism is the practice of replacing a signifier with an object, not an object with another object. The replacement of a signifier by an object can guarantee the simultaneous half-success and half-failure of the replacement. This half -success and half-failure of the replacement makes the replacement recur while either a complete success or a complete failure will only stop its repetition. This half-success and half-failure is a key element of fetishism since this duality guarantees fetishism taking effect continuously. The never-ending am incessant functioning of the fetish may guarantee fetishism its value.
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