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학술연구/단체지원/교육 등 연구자 활동을 지속하도록 DBpia가 지원하고 있어요.
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Pinter's No Man's Land marked the culmination of his twenty years' work. Within this work, Pinter conveys his ideas on the topics of memory, art, and a problem of identity. The drama starts with a confrontation between Hirst, a successful literary man, and Spooner, a shabby poet whom Hirst brought home from the pub. This confrontation involves the protagonist's journey toward knowledge of the self. It is because Spooner plays not only the role of a rival in art, but the role of Hirst's other self, functioning as a friend, a servant, and a saviour. With Pinter introducing literary allusion from the outset and scattering it through the work, the process of the confrontation between Hirst and Spooner through the play of memory based on their seemingly shared past is self-consciously constructed to foreground Hirst's fear of encounter with renewal through death.
Shown in alcoholic condition, Hirst can be understood as having an identity crisis. He is well known and socially established, but, as suggested in Spooner's criticism of Hirst's impotence and lack of masculinity, he is helpless and useless. Hirst's sense of crisis leads him to select and compose his past, making fictional characters of himself. It is therefore not difficult to find that in this all-male play Foster is created to protect Hirst's artistic passion in youth and Briggs is created to ensure the poet's duty and Hirst's responsibility. Through Spooner, Hirst projects his deepest desire to regain what he lost from the process of socialization. He also finds in Spooner his deepest fear of death that is necessarily accompanied in the process of self-knowledge. As Hirst's double, Spooner functions as the source of salvation by offering himself to die for Hirst. The challenge to restore or regain integrity defeats Hirst who is unable to accept Spooner's offer to die. Hirst decides to be locked in no man's land which never moves and changes, but which remains permanently frozen. The decision of the old artist leads us to realize that Hirst's self-conscious journey to self-knowledge does not reach any destination but rather comes to a dead end.
Shown in alcoholic condition, Hirst can be understood as having an identity crisis. He is well known and socially established, but, as suggested in Spooner's criticism of Hirst's impotence and lack of masculinity, he is helpless and useless. Hirst's sense of crisis leads him to select and compose his past, making fictional characters of himself. It is therefore not difficult to find that in this all-male play Foster is created to protect Hirst's artistic passion in youth and Briggs is created to ensure the poet's duty and Hirst's responsibility. Through Spooner, Hirst projects his deepest desire to regain what he lost from the process of socialization. He also finds in Spooner his deepest fear of death that is necessarily accompanied in the process of self-knowledge. As Hirst's double, Spooner functions as the source of salvation by offering himself to die for Hirst. The challenge to restore or regain integrity defeats Hirst who is unable to accept Spooner's offer to die. Hirst decides to be locked in no man's land which never moves and changes, but which remains permanently frozen. The decision of the old artist leads us to realize that Hirst's self-conscious journey to self-knowledge does not reach any destination but rather comes to a dead end.
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참고문헌 (7)
참고문헌 신청
[학술지(정기간행물)] - / 1996 / The Life and Works of Harold Pinter
[학술지(정기간행물)] - / 1984 / Death and the Double in Three Plays by Harold Pinter.
[학술지(정기간행물)] - / 1989. / Richrd Allen. New British Drama in Performance on the London Stage 1970-1985. Gerard Cross
[학술지(정기간행물)] - / 1991.esslin1973. / Ruby. Retreats from Realism in Recent English Drama. Cambridge A Study of His Plays. London
[학술지(정기간행물)] - / 1976. / Lucina. The Dream Structure of Pinter's Plays
[학술지(정기간행물)] - / 1984 / Death and the Double in Three Plays by Harold Pinter.
[학술지(정기간행물)] - / 1989. / Richrd Allen. New British Drama in Performance on the London Stage 1970-1985. Gerard Cross
[학술지(정기간행물)] - / 1991.esslin1973. / Ruby. Retreats from Realism in Recent English Drama. Cambridge A Study of His Plays. London
[학술지(정기간행물)] - / 1976. / Lucina. The Dream Structure of Pinter's Plays
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