『오레스테아』에 나타난 모친살해의 상징과 주체 형성

박선영(Seonyoung Park) 한국비평이론학회 2010 비평과이론 Vol.15 No.1

Just as the myth of Oedipus illuminates Freudian theory, Klein focuses on the myth of Orestes after diagnosing the matricidal fantasy in her clinic to discovery its underlying logic. Klein highlights a different sort of logical process that reflects subjective autonomy. In the ancient Greek tragedy, the murder of Orestes’s mother grants him freedom, though at the price of a depressive remorse that symbolizes the endless hounding of the Erinyes. Matricide clearly led to Orestes’s guilt, but he acquired an immense freedom and a preeminent symbolic capacity. Such an interpretation is not far removed from Sartre’s own reading of The Oresteia, a reading that informs his play Les Mouches. Klein shows the symbolic process by way of Dick’s case. She introduces Dick into the Symbolic through the constellation of the Oedipal triangle and brings about Dick’s Oedipal identification. The cult of the primary mother is a pretext for matricide in Klein. To get rid of the mother becomes the required condition for accessing the symbol.

The Growth of a Female Individual: From Violent to Charitable in Euripides’ Iphigenia among the Taurians

박경란 한국고전중세르네상스영문학회 2021 중세근세영문학 Vol.31 No.3

This paper investigates how Iphigenia outgrows the process of repeating violence which she herself suffered by overcoming inner contradictions of different images of Artemis in Euripides’ play Iphigenia among the Taurians. Traditionally, most critics have marginalized Iphigenia through their focus on Aristotelian recognition or male philia between Pylades and Orestes. Iphigenia, instead, has been viewed as passive and deceptive. Recently, however, partly with feminist acknowledgement of agency in traditional nurturing women, Iphigenia, as a character, has been reconsidered, although the growth aspect of her character has not been discussed. This paper argues that Iphigenia overcomes the inner contradictions between violent and charitable Artemises, and that she finds her sense of self through faith and community. To contextualize the theme of change from violent to charitable, I first discuss Aeschylus’ Oresteia as a prequel to Euripides’ play, comparing the two writers’ different expressions of theodicy. I then describe the growing processes of Iphigenia.

From Instinct to Knowledge of the Art: Plot in Aristotle’s Poetics : ‘본능’으로부터 예술의 ‘지식’으로 : 아리스토텔레스 『시학』에서의 ‘플롯’

오세준(Oh Saejoon) 한국문화예술교육학회 2019 모드니 예술 Vol.16 No.-

아리스토텔레스는 그의 『시학』에서, 비극이라는 것은 모든 종류의 즐거움을 추구하는 것이 아니라 그것 “고유의” 즐거움을 추구하는 것이라고 말한다. 그리고 그러한 비극 고유의 즐거움을 본질적으로 산출하는 것은 비극을 구성하는 ‘음악’, ‘언어’, ‘성격’, ‘사상’, ‘스펙터클’, ‘플롯’의 여섯 가지 요소들 중에서 ‘플롯’이라고 규정한다. 아리스토텔레스에 의하면, 사건의 인위적인 배열이나 결합인 ‘플롯’은 개연성을 가질수록 그 효과를 나타내게 되는데, 이렇게 플롯의 개연성을 개선하려는 노력의 예들을 아이스킬로스의 <코에포로이(제주를 바치는 여인들)>, 소포클레스의 <엘렉트라>, 에우리피데스의 <엘렉트라>에서 발견할 수 있다. 아버지 아가멤논의 복수를 이룩하려는 그의 자식들 엘렉트라와 오레스테스의 이야기를 주제로 하고 있다는 점에 대해서 이 작품들은 모두 같지만, 그 복수의 과정이 되는 사건들의 배열은 각기 다르게 나타난다. 각기 순차적으로 다른 세대에 속하는 세 명의 작가들에게서는 점차로 이 같은 주제를 더욱 합리적이며, 그래서 개연성 있는 방식의 플롯을 통하여 표현하게 되는 현상이 나타난다. 이러한 개선 현상은 아리스토텔레스에 의하면 “기술적 지식에 의해서가 아니 단지 우연에 의해서” 이루어진 것이다. 아이스킬로스와 소포클레스, 에우리피데스 보다 후대의 사람인 아리스토텔레스는 자기 전대의 비극 작가들의 작품을 분석해서, 비극이 산출하는 고유한 즐거움의 본질과, 그 즐거움의 본질을 생산하는 플롯의 유형적 특징을 규명해 내는데, 이러한 아리스토텔레스의 분석은 이제 그의 기준을 따르기만 하면 비극 고유의 즐거움을 필연적으로 생산해 낼 수 있도록 하는 기술의 발명으로서의 의미를 갖게 된다. 아리스토텔레스에 의해서 비극의 플롯은 “본능”의 산물이 아니라 “기술적 지식”의 산물이 된다. According to Aristotle’s Poetics, the proper pleasure of Tragedy is aroused by Plot. Therefore, considering it most important among the components of Tragedy, the philosopher analyzes what makes Plot effective in his theorization. Plot, the arrangement of incidents in Tragedy, becomes different in each tragedy representing the playwright’s own technique. The extant Greek tragedies, such as Aeschylus’s The Choephori, Sophocles’s Electra, and Euripides’s Electra, show different plots while they have the same theme of Orestes’s revenge of his father, Agamemnon. The tragedians pursued probability in their own ways in order to make their plots more effective. As Aristotle repeatedly emphasizes that probability is essential to good plots, the differences in the plots and the ways of realizing probability among these tragedians do not merely mean that each poet demonstrated the excellent operation of his inspiration based on instinct. In terms of Aristotelean aesthetics, they were forming the knowledge of how to produce the art form. Since Aristotelean Poetics, Plot becomes the realization of knowledge, rather than of instinct. That is, the artistic skill, in the case of tragedy, is the knowledge of the art form.

16세기 위그노전쟁과 정치적 정의로서의 화해

이동수 ( Dong Soo Lee ) 한국정치평론학회 2018 정치와 평론 Vol.23 No.-

There has been a series of conquest in the history of mankind. It often resulted in its revenge justified in the name of ‘just war.’ The theory of ‘just war’ was invented by St. Augustine and refined by St. Aquinas. It was prevailing through the Crusades Wars in the middle age. The Huguenots Wars in the 16^th century, however, the idea of revenge was replaced with the idea of reconciliation shown in the Edict of Nantes in 1598. While the former was considered as philosophical justice, the latter was selected as political justice, because social integration and peace inevitably needed the reconciliation between the Catholics and the Huguenots. In addition, Aeschylus had already considered reconciliation as political justice in his tragedy works on Orestes. According to him, reconciliation came after the process of ‘pathei mathos.’

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

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

『사생아를 위해 뜨는 달』에 나타나는 자기와의 화해 문제

조숙희 ( Sook Hee Cho ) 한국아메리카학회 2003 美國學論集 Vol.35 No.1

Eugene O`Neill`s first concern in his dramatic world was the relationship between man and god. Although the gods in both the mythological and Biblical worlds were dead, and science and materialism had failed to take their places, still, O`Neill was always acutely conscious of “the Force behind.” He kept trying to find this Force which would provide his heroes with universal and even divine significance so that his tragedies could bring about the same effects that Greek tragedies had on audiences of antiquity. O`Neill`s quest for “the Force behind” also has roots in his personal need to settle his traumatic love-hate relationship with his mother through his writing. His guilt-stricken feelings for his mother became the personal reason for seeking the “Force behind.” This study focuses on one of his last plays, A Moon for the Misbegotten, especially on how the play is related to the Orestes myth, how the myth helps us better understand the play, and finally, how O`Neill achieves his dramatic quest through the re-enactment of the myth in the play.

실험적 전략들: 『스위니 아고니스테스: 아리스토파네스풍의 멜로드라마』

김명옥 한국T.S.엘리엇학회 2009 T.S. 엘리엇 연구 Vol.19 No.2

Eliot wrote the unfinished drama, Sweeney Agonistes: Fragments of the Aristophanic Melodrama after The Waste Land and just before his Christian conversion. He himself put the subtitle of ‘melodrama’ in it in 1932 and later published this poem under the group of “Unfinished Poems,” which proves the writer’s intricate intention and concerns for this work. In spite of his thoughtful considerations, this work has not much appealed to the public and the scholars as might be expected. This article is to discover the significance of this work as a preparatory step for Eliot’s later works. The survey of the experimental strategies of Sweeney Agonistes: Fragments of the Aristophanic Melodrama has revealed an important fact that Eliot wrote this work as an experimental ground for the effective delivering of his theme to the public. For this purpose he has attempted some stylistic aids from both genres, poetry and drama, in this work. First of all, Eliot utilizes the epigraphs by introducing two representative perspectives on sin and redemption, the heathen Hellenic and the Christian, and implies the themes of his later works would focus on the latter one, that is, the spiritual exploration of Christianity. Also he adopts one of the dramatic devices, the doubleness, which is to proceed with two patterns of life in one work, the superficial daily one and the deep spiritual one, at the same time. Practically, Eliot shows the life of the 1920’s American low class in the first fragment of “A Prologue” while the next fragment of “An Agon” presents the under-pattern of the spiritual awakening through the main character, Sweeney, with the invitation of Doris to the cannibal island to convert her. To use the advantages of the poetic form, Eliot adopts musical methods such as the jazz accompaniment and the chorus, which not only make up the compressed content of the play but derive the unconscious, immediate emotional effects from the public even in the ignorance of the spiritual meaning of death and life. Eliot is also following the rules of the melodrama such as the coincidence and the delaying of the conclusion. In the work, Doris is obsessed by the idea of coincidence about her affairs and this work ends with Sweeney’s mission as a missionary unfulfilled, which should be continually pursued in Eliot’s later works.

그리스 비극에 나타난 젠더와 아테네 제국주의

최혜영 한국외국어대학교 외국문학연구소 2008 외국문학연구 Vol.- No.29

이 글은 아이스킬로스의 󰡔오레스테이아󰡕를 중심으로 비극 속 여성상과 아테네 제국주의의 상관성을 살펴보고자 한 것이다. 그리스 비극에 대한 글들은 수없이 많이 있지만, 당시 아테네가 처한 ‘대외적인’ 정치외교적 상황 및 이와 연관한 아테네인들의 심성적 맥락과 연결하여 보는 글들은 거의 없는 듯하다. 당시 아테네는 페르시아 전쟁 이후 델로스 동맹국들을 이끌면서 점차 제국주의적 경향을 띠고 있었고, 이러한 제국주의 이데올로기의 버팀목은 ‘그리스 동맹국들을 이끄는 용감한 아테네 남성’이었다. 이러한 남성적 아테네와 대조적인 국가는, 󰡔오레스테이아󰡕의 배경이 되고 있는 아르고스였다. 페르시아전쟁 당시, 테바이와 더불어 친페르시아파로 분류되었던 아르고스는 아테네의 비극작가 아이스킬로스에 의해, 아가멤논이나 아이기스토스, 오레스테스처럼 남성이 여성스럽고, 클리타임네스트라나 엘렉트라처럼 여성이 남성 같은 나라이자, 악한 여성 혹은 유약한 남성이 폭군으로 통치하는 비극적 사회로 그려지고 있다. 이처럼 젠더(性정체성)는 아테네의 우월성과 아테네 적대국의 비극성을 강조하는 구도에서 유용한 도구였으며, 주요 유통 경로는 비극 상연이었다. 아테네 사회의 기반으로서의 남성들이 이상화되면 될수록, 여성과 이민족은 점점 타자화되어갔다. This paper is to trace the relationship between gender and ‘imperialistic mentality’ of Athens through analyzing Greek tragedies, especially the Oresteia of Aeschylus. In this play of Aeschylus, Argos, the homeland of Clytemnestra and Orestes is a representative country of manlish women and feminized men. This twisted gender-orientation constitutes one of the main frames of this play. Aeschylus created a new character of Orestes and of Clytemnestra, manipulating traditional myths for political purposes-that is Atheno-centric and anti-Argos. My argument is based on the historical fact that Argos (and Thebes) had taken the side of Persia against Athens during the Persian war and Athens wanted cultural revenge against those pro-Persian countries. It is not only for the past, but also for the present and future, since the Delian League lead by Athens was at work at that time. In short, the Oresteia of Aeschylos was performed as a propagandic civic project to strengthen the ideology of Athenian Imperialism, and one of the main frames of sustaining this ideology is ‘a twisted gender conception’.

니체의 비극론을 통한 한국에서의 그리스 비극 공연 연구

심재민 ( Jae Min Shim ) 순천향대학교 인문학연구소 2012 순천향 인문과학논총 Vol.31 No.2

Nietzsche`s thinking on the ancient Greek tragedies is not only about the issues of the tragedy itself. In his writing, he states his views on the typical modern social problem, nihilism; he also ascertains the immortal vitality of the will throughout the Greek tragedies. He states that the audiences raise their will to live through the tragedies, which is that very difference to Aristotle`s theory. He puts emphasis on that the protagonist`s downfall or destruction affects the audiences as a metaphor of a mask of afflicted Dionysus? The audiences, here, witness the brutality of nature and attain the will to overcome it as well. On the basis of that reasoning in Nietzsche`s theory, the author would like to examine the Greek tragedies in Korea. More specifically, to identify the typical features of the Greek tragedies performed in Korea, expecially <Orestes> directed by Lee Seong-yeol and <Oedipus> directed by Park Geun-hyeong based on Nietzsche`s theory and also to cover their emotional effects to the audience. Therefore, the purpose of this study is to understand the fundamental problems and limits of Korean plays and the features of each play.

『파리떼 』의 신화 연구

윤정임 한국프랑스학회 2004 한국프랑스학논집 Vol.48 No.-