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학술연구/단체지원/교육 등 연구자 활동을 지속하도록 DBpia가 지원하고 있어요.
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연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
초록· 키워드
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Churchill's efforts to redefine the notion of the family have been an important part of her feminist politics. In Cloud Nine, Churchill attacks the myth of the Victorian bourgeois family that still asserts its discursive power as the home of imperial ideologies in the late-1970s British political context characterized by conservatives' campaign against homosexuals and black immigrants. Churchill dramatizes the Victorian family as an ideological apparatus for controlling non-normative desires and bodies by confining them in the safe parameter of home that represents the ideological boundary of both the family and the British empire.
In order to unmake the myth of the traditional family, Churchill first of all presents the family as a cultural construct formed in the ritual process of Althusserian interpellation. In this process, the patriarch's naming of familial roles is answered by individuals' acceptance or' the roles. Churchill also shows how family members' performance of their roles replicates the existing power structure that seeks to perpetuate the hierarchical opposition between the male, white, heterosexual subject and its Others. After rendering the performative family as the locus of power relations maintained through discipline and punishment, Churchill goes on to present different family forms and identities. As contemporary characters' practices of multiple identities and non-heterosexual relations parody and transgress the discursive boundary of the traditional heterosexual family, the play effectively shows that the heterosexual family is anything but natural. In de-mystifying the family, the play offers in its stead movable homes and nomadic subjects that do not reify it as the monolithic origin of identity and signification.
In order to unmake the myth of the traditional family, Churchill first of all presents the family as a cultural construct formed in the ritual process of Althusserian interpellation. In this process, the patriarch's naming of familial roles is answered by individuals' acceptance or' the roles. Churchill also shows how family members' performance of their roles replicates the existing power structure that seeks to perpetuate the hierarchical opposition between the male, white, heterosexual subject and its Others. After rendering the performative family as the locus of power relations maintained through discipline and punishment, Churchill goes on to present different family forms and identities. As contemporary characters' practices of multiple identities and non-heterosexual relations parody and transgress the discursive boundary of the traditional heterosexual family, the play effectively shows that the heterosexual family is anything but natural. In de-mystifying the family, the play offers in its stead movable homes and nomadic subjects that do not reify it as the monolithic origin of identity and signification.
목차
Ⅰ. 서론
Ⅱ. 제국주의와 가정
Ⅲ. 권력의 가정 만들기: 호명과 응답 행위
Ⅳ. 수행적(performative) 가정과 제국 만들기
Ⅴ. 가정의 영역과 계층 구조 만들기
Ⅵ. 대체 가족 관계 만들기
Ⅶ. 결론
주
인용문헌
Abstract
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