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.
논문 기본 정보
- 자료유형
- 학술저널
- 저자정보
- 발행연도
- 2003.8
- 수록면
- 225 - 245 (21page)
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초록· 키워드
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A traditional equation of 'feminine' with 'maternal' is a dominant feature throughout O'Neill's canon. His maternal women are likely to be prostitutes, virgins, or childless wives, although motherliness has little to do with biology or sexuality.
Long Day's Journey into Night is in great part about feminine suffering. Mary Tyrone, a frustrated homemaker, is the dramatic focus of the play, for she is structurally central to the competing male narratives around her. The manifold nature of Mary's consciousness becomes apparent through her contradictory sets of feelings simultaneously experienced. In the character of Mary, the two themes of home and true self come together. Her obsessive desire for a real home must be considered in the context of her attempt at defining and understanding herself. Mary's inability to have a real home is virtually due to her losing herself, her faith and so also her soul.
The play does portray a family crippled by a trauma, 'nightmare reality' of family life, which involves Mary's addiction to morphine. The issue of her addiction is crucial to the problem of the Tyrone family, for she abandons the family during her drugged states. Her habitual injection of morphine is motivated by an emotional rather than a physiological craving. She does not have psychic capacity for empathy toward her family because of her self-centered view of reality. And her feeling of motherly solicitude leads to one of cynical rejection, projected aggression, and psychological displacement.
At the final act, like a sleepwalker who moves not knowing fully the way or wherefore of her actions, Mary appears in a drugged trance before her husband and sons. Even though Mary claims that she never had the slightest desire to be an actress, she ironically takes center-stage, and becomes a complex and theatrically powerful stage woman. She accesses the past in order to escape the present through a potential vehicle, the wedding gown, which she carries down from the attic. Then she symbolically enacts a rite of unwedding him, in returning the wedding gown to her husband.
As a perpetrator of the sexual trauma, she rejects conventional images of home and motherhood. In the logic of male narrative, she, like Medusa, is the monster whose name means a warning or a threat, delivering its subtext of betrayal and revenge. At the final curtain, three male characters are helplessly left staring, paralyzed by the knowledge that their homemaker is taking leave of them. Mary, who finally escapes from motherhood by adopting theatrical strategy of escape, epitomizes disruptive and devastating vision of the play at the denoument which defies ending.
Long Day's Journey into Night is in great part about feminine suffering. Mary Tyrone, a frustrated homemaker, is the dramatic focus of the play, for she is structurally central to the competing male narratives around her. The manifold nature of Mary's consciousness becomes apparent through her contradictory sets of feelings simultaneously experienced. In the character of Mary, the two themes of home and true self come together. Her obsessive desire for a real home must be considered in the context of her attempt at defining and understanding herself. Mary's inability to have a real home is virtually due to her losing herself, her faith and so also her soul.
The play does portray a family crippled by a trauma, 'nightmare reality' of family life, which involves Mary's addiction to morphine. The issue of her addiction is crucial to the problem of the Tyrone family, for she abandons the family during her drugged states. Her habitual injection of morphine is motivated by an emotional rather than a physiological craving. She does not have psychic capacity for empathy toward her family because of her self-centered view of reality. And her feeling of motherly solicitude leads to one of cynical rejection, projected aggression, and psychological displacement.
At the final act, like a sleepwalker who moves not knowing fully the way or wherefore of her actions, Mary appears in a drugged trance before her husband and sons. Even though Mary claims that she never had the slightest desire to be an actress, she ironically takes center-stage, and becomes a complex and theatrically powerful stage woman. She accesses the past in order to escape the present through a potential vehicle, the wedding gown, which she carries down from the attic. Then she symbolically enacts a rite of unwedding him, in returning the wedding gown to her husband.
As a perpetrator of the sexual trauma, she rejects conventional images of home and motherhood. In the logic of male narrative, she, like Medusa, is the monster whose name means a warning or a threat, delivering its subtext of betrayal and revenge. At the final curtain, three male characters are helplessly left staring, paralyzed by the knowledge that their homemaker is taking leave of them. Mary, who finally escapes from motherhood by adopting theatrical strategy of escape, epitomizes disruptive and devastating vision of the play at the denoument which defies ending.
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UCI(KEPA) : I410-ECN-0101-2009-842-015465028