Measure for Measure 의 Justice : W. Shakespeare와 H. Brenton의 작품 비교연구

조숙희(Sookhee Cho) 한국셰익스피어학회 1997 셰익스피어 비평 Vol.30 No.-

Hirst as a Narcissistic Hero in Pinter's No Man's Land

Cho Sookhee(조숙희) 한국현대영미드라마학회 2005 현대영미드라마 Vol.18 No.1

『유리 동물원』의 사회비평적 요소 고찰

조숙희(Cho Sookhee) 한국현대영미드라마학회 2009 현대영미드라마 Vol.22 No.3

It is generally accepted that Tennessee Williams’ dramatic world is limited to the personal and sexual arena, disregarding the social issues. However, Williams himself continuously insisted that he is a revolutionist, and that the majority of his work deals with social issues in one way or other. It is also true that some critics have supported the author’s contention, analyzing his works with a view of social criticism. The main purpose of this essay is to add another viewpoint in Williams’s feature as a social critic by investigating the characters in The Glass Menagerie. For the purpose, I try to examine The Glass Menagerie within the paradigm of “one dimensional man” coined by Herbert Marcuse. By the term, Marcuse describes the public who are subordinated and subsumed by the totality of the ideology represented through the industrialization and the culture industry. The characters in The Glass Menagerie are internalized and manipulated by the invisible but dominant power system that wants them to remain as a necessary lower part of the society. For the purpose, the system dazzles the public with the false vision and transforms them into the “one dimensionalmen.” Therefore, the helpless fugitiveness of the characters of the play is underlined by the conspiracy to make them follow the social ideology, and their failure to feel even the necessity of breaking the subjugation leads to a bitter criticism on the society armed with technology which deliberately and insistently stamps down individuals. In sum, The Glass Menagerie effectively shows Williams’s feature as a consistent social critic.

A Study of the Matchseller in A Slight Ache

Cho Sookhee(조숙희) 한국현대영미드라마학회 2004 현대영미드라마 Vol.17 No.1

포스트모던 역사 담론과 The Death of the Last Black Man in the Whole Entire World

조숙희(Cho Sookhee) 한국현대영미드라마학회 2010 현대영미드라마 Vol.23 No.2

This essay examines Suzan Lori Parks's The Death of the Last Black Man in the Whole Entire World through the theory of post-modernism in history. It is well known that the majority of Parks's drama deals with history. She usually takes a historical event and then tries to deconstruct it on the premise that the historical event was distorted by the powerful entity, especially that the history and narrative of black slaves in the past were subsided, erased, eliminated, and distorted so much by the whites. Parks's skeptical and even negative attitude toward the written history of the blacks is similar to that of some historians who advocate the postmodern view for the history as a whole. The scholars argue that written records of history do not reflect "history proper" but reveal the "metahistory" which is nothing but a fiction made by the historians who were heavily influenced by their time and situation. When one investigates Parks's play, The Death of the Last Black Man in the Whole Entire World, with postmodern point of view, one can better understand Parks's intention to display a chaotic and amorphous field on the stage, to deconstruct and rewrite the established version of history out of it, and to make the audience engaged in the process of rewriting the history of human beings--especially of the black people.

The Orestes Myth and the Double in Eugene O’Neill’s The Iceman Cometh

Cho, Sookhee(조숙희) 한국현대영미드라마학회 2003 현대영미드라마 Vol.16 No.1

베누티의 이국화로 본 김지영의 번역 텍스트 Please Look After Mom : 문화특정어를 중심으로

조숙희 ( Cho¸ Sookhee ) 동국대학교 영어권문화연구소 2015 영어권문화연구 Vol.8 No.3

Shin Kyoung-Sook's Please Look After Mom translated by Kim Chi-Young has been well received in the Western countries for its fluency in English translation as well as its universal theme, being a mother for ‘the inequitable relationship between a mother and her children.’ In addition, the story also has been well reviewed for retaining “a strong Korean feel, filled with beguiling pariculars of a culture alien to most Western readers” (Weibezahl 2011). For its fluency in English, the translated text has been analyzed as if it was translated by domestication translation strategy (김영신 2012, 박철 우 2014). However, in this paper, it will be shown that the English translated text has many foreignizing aspects which are cultural pressures on the Western readers, being dérive of Western discourse. The translated text contains Korean archaic forms such as ‘ri’ and culture specific items like ‘makgoli,’ ‘pyoung’ and ‘panchan.’ According to Venuti (1995), if marginal literary works are translated into English, being translated to resemble the Western canonical discourse forms, it is taken to be a foreignization translation strategy. The Korean original 『엄마를 부탁해』 is not a canon from the Western perspective; it is marginal to the Western literary world. But it has been known its being fluent in English. It is concluded that being fluent in English translation does not entail that the translated text is a result of domestication. The transated text Please Look After Mom by Kim Chi-Young is a hybrid of domestication and foreignization.

Daughters of Heaven과 청소년극

조숙희(Cho Sookhee) 한국현대영미드라마학회 2011 현대영미드라마 Vol.24 No.3

One of the most controversial issues today is the rapid increase of juvenile delinquents. Consequently, the necessity of reinforcing the education of morality and of humanistic perspectives for adolescent youngsters gets urgent than ever. Michelanne Forster' Daughters of Heaven seems to provide a timely chance to inspect the current issue. The play is based on the real story that shocked the quiet city of Christchurch in New Zealand almost fifty years ago when an adolescent girl killed her mother brutally by hitting her on the head as many as forty five times with a brick with the help of her intimate friend. In this play, one can trace a series of causes which finally led the young girl to commit such a formidable crime. To name but a few, one of the two protagonists, Pauline, suffers for a serious inferiority complex because she belongs to the neglected and underprivileged class. On the other hand, Juliet, in spite of her comparative affluent situation, despises her parents: her father shows a cold shoulder to his family, absorbed in his dry world of academism and her mother tries to revenge on her husband by developing an extramarital affair with a closest friend of her husband's. As a result, the two girls come to stay in their own imaginary world where popular idol stars dominate. Furthermore, they even connived to kill Pauline's mother who seems to impede them from enjoying their world of fantasy. Unfortunately, they carry out their appalling scheme and remain on the stage without any feeling of guilt when the curtain falls. The play about juvenile delinquency performed by the youngsters provides a therapeutic chance to the youngsters as audiences to look around their own situations and to get the moral and emotional balance which is liable to be neglected especially at the age of turmoil.

『이단자』에 나타난 진리와 이데올로기의 상관관계 연구

조숙희 ( Cho Sookhee ) 대한영어영문학회 2010 영어영문학연구 Vol.36 No.3

David Williamson, the most representative playwright in Australia, tries to dramatize one of the most famous controversies of anthropology, the debate between Margaret Mead and Derek Freeman on the most decisive factor of human nature: heredity or environment. The two scholars had tried to find an answer to the question, “What is the ultimate nature of humankind?” through their academic research. Interestingly, however, their attitudes and behaviors in the text reveal that they were heavily influenced by the needs of the specific time and social ideology which is opposed to their own opinions. In that sense, this play ironically shows that the academic truth is closely related with the non-academic circumstances surrounding the scholars. In other words, the play tells us that the production of truth is heavily accommodated to the power and ideology of the specific time and situation. (Chung-Ang University)

『피로 쓴 주홍글씨』: 역사 다시 쓰기

조숙희 ( Cho Sookhee ) 대한영어영문학회 2007 영어영문학연구 Vol.33 No.2

Suzan Lori Parks is one of the most outstanding black dramatists of this age. Her major concern is the reinterpretation and representation of black people’s past and present which have been ignored and silenced by the whites’ dominant ideology. Among many of her plays, In the Blood is unique because the play is a parodic revision and reversion of The Scarlet Letter―a representative canon of American literature. Through the black, poor, ignorant and desperate black woman named Hester, La Negrita, Parks tries to describe the bitter situation of the blacks in modern harlem. The main purpose of this writing is to investigate sex, love, violence, history and ritual which are the characteristics of Parks’ plays and thereby to understand Parks’ unique sense of history and meaning of the play. (Chung-Ang University)