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논문 기본 정보
- 자료유형
- 학술저널
- 저자정보
- 발행연도
- 2006.4
- 수록면
- 129 - 150 (22page)
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The central tension in David Hare's Plenty is established by a conflict between the post-war British society and the heroine's frustrated resistance to it. However, the emotional extremes in the personality of Susan, the heroine, misled some critics to examine the play in purely psychological terms at the cost of the wider historical backdrop. This paper begins with a puzzling question, "why did the critics need some heavy inferring in order to perceive the cause of Susan's social disillusionment?" I interpret this failure to establish a connection between Susan's psychological disintegration and historical objectivity as a series of attempts to de-politicize the play.
I examine the public implications for Susan's personal feelings, which have been suppressed by the critics, and discuss critical issues produced by Hare's treatment of Susan as an ambiguous figure. I suggest that a critical focus on Susan's character as a dynamic cipher could illuminate the complex issues, such as the relationships between individual and society, theory and practice, and history and myth. For this purpose, I firstly demonstrate Susan as both a specific and a representative character, and then define the society which her resistance is charted against as the one trapped in the ideology of "affluence," an obviously ideological project replacing the real relations of post-war society with an imaginary relation.
The ambivalence of Susan's character does not damage and blur the play's political message. Instead, almost every dramatic method contributes to the critical process of judging over her dissident life, thus creating a very dynamic dilemma: "Is Susan a victim or a culprit of all the failures?" This question ultimately leads to a more fundamental investigation, "how to resist without being trapped into cynicism or self-destructiveness in the increasingly reactionary British society," in which the only alternative seems to be a nostalgic gaze upon the uncontested past. I conclude that Susan's post-war life invites the audience into an incessant critical reassessment of the relationship between society and individual, creating and intensifying the very sense of social tensions and historical conflicts.
I examine the public implications for Susan's personal feelings, which have been suppressed by the critics, and discuss critical issues produced by Hare's treatment of Susan as an ambiguous figure. I suggest that a critical focus on Susan's character as a dynamic cipher could illuminate the complex issues, such as the relationships between individual and society, theory and practice, and history and myth. For this purpose, I firstly demonstrate Susan as both a specific and a representative character, and then define the society which her resistance is charted against as the one trapped in the ideology of "affluence," an obviously ideological project replacing the real relations of post-war society with an imaginary relation.
The ambivalence of Susan's character does not damage and blur the play's political message. Instead, almost every dramatic method contributes to the critical process of judging over her dissident life, thus creating a very dynamic dilemma: "Is Susan a victim or a culprit of all the failures?" This question ultimately leads to a more fundamental investigation, "how to resist without being trapped into cynicism or self-destructiveness in the increasingly reactionary British society," in which the only alternative seems to be a nostalgic gaze upon the uncontested past. I conclude that Susan's post-war life invites the audience into an incessant critical reassessment of the relationship between society and individual, creating and intensifying the very sense of social tensions and historical conflicts.
목차
Ⅰ. Introduction
Ⅱ. Susan‘s War Experience as Individual and Representative
Ⅲ. Reading Susan‘s Experience through the Post-war “Affluence“ Ideology
Ⅳ. A Strong-willed Dissenter or a Monstrous Destroyer?
Ⅴ. Conclusion
Works Cited
Abstract
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