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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.
논문 기본 정보
- 자료유형
- 학술저널
- 저자정보
- 발행연도
- 2006.12
- 수록면
- 231 - 250 (20page)
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초록· 키워드
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Ever since Tennessee Williams illustrated Amanda's and Blanche's helplessness under the influence of the past in The Glass Menagerie and A Streetcar Named Desire, many critics have dealt with the negative aspect of the past in his plays. However, we must not overlook the positive aspects of Williams' view of the past to understand his plays more completely. Williams projects the possibility of transforming the negative influence of the past into a creative source of self-knowledge, achieving harmony with time in The Rose Tattoo and The Night of the Iguana. Through the protagonists’ changing attitudes toward their past and the subsequent results, Williams clarifies that the influence of the past can be positive, as well as negative, depending on our attitudes toward it.
Serafina in The Rose Tattoo retreats from the present and indulges herself in the past world from the moment of her husband, Rosario's death. Similar to Serafina, Shannon in The Night of the Iguana has been obsessed by his childhood memory and comes to have a negative view of physical love, as well as, love of God. In addition, he does not accept his reality as a tour guide and clings to the past when he was a priest only to be a beaten and helpless person.
Although Serafina and Shannon have many similarities with Williams' past-oriented characters in the sense that they suffer from the negative burden of the past, they do not remain helplessly overwhelmed by the negative power of the past. As the play develops, Serafina and Shannon acquire a positive retrospection to their past in which they come to learn about their real past and its true relations with their present. In this process they are helped by Alvaro and Hannah, respectively.
In The Rose Tattoo and The Night of the Iguana, Williams clearly shows that obsession with the past isolates his characters from the real world but their positive retrospection brings forth some possibility of dealing with the haunting past and achieving an evolution of consciousness to go toward the future with love and hope. As Williams enables his characters to enter a harmonious state of life in tune with their changed attitude to the past, he celebrates the positive, progressive attitude to the past as something desirable. So it is clear that Williams' vision of the past is not negative but very positive and progressive.
Serafina in The Rose Tattoo retreats from the present and indulges herself in the past world from the moment of her husband, Rosario's death. Similar to Serafina, Shannon in The Night of the Iguana has been obsessed by his childhood memory and comes to have a negative view of physical love, as well as, love of God. In addition, he does not accept his reality as a tour guide and clings to the past when he was a priest only to be a beaten and helpless person.
Although Serafina and Shannon have many similarities with Williams' past-oriented characters in the sense that they suffer from the negative burden of the past, they do not remain helplessly overwhelmed by the negative power of the past. As the play develops, Serafina and Shannon acquire a positive retrospection to their past in which they come to learn about their real past and its true relations with their present. In this process they are helped by Alvaro and Hannah, respectively.
In The Rose Tattoo and The Night of the Iguana, Williams clearly shows that obsession with the past isolates his characters from the real world but their positive retrospection brings forth some possibility of dealing with the haunting past and achieving an evolution of consciousness to go toward the future with love and hope. As Williams enables his characters to enter a harmonious state of life in tune with their changed attitude to the past, he celebrates the positive, progressive attitude to the past as something desirable. So it is clear that Williams' vision of the past is not negative but very positive and progressive.
목차
Ⅰ. 시작하는 말
Ⅱ. 흐르지 않는 세라휘나의 시간
Ⅲ. 밧줄 끝에 있는 남자, 섀넌
Ⅳ. 다시 두 생명인 세라휘나의 몸
Ⅴ. 행복하게 웃는 섀넌
Ⅵ. 맺는말
인용 문헌
Abstract
참고문헌 (15)
참고문헌 신청
1. [학술지(정기간행물)] - / 1997 / Before and Fall―and after:Summer and Smoke and The Night of the Iguana:Companion to Tennessee Williams : 114 ~ 127
2. [학술지(정기간행물)] - / 1966 / The Influence of D Lawrence on Tennessee Williams
3. [학술지(정기간행물)] - / 1977 / A Collection of Critical Essays : 123 ~ 37
4. [학술지(정기간행물)] - / 1979 / A Portrait of the Artist The Plays of Tennessee Williams
5. [학술지(정기간행물)] - / 1968 / The World of Tennessee Williams Essays in Criticism : 71 ~ 89
2. [학술지(정기간행물)] - / 1966 / The Influence of D Lawrence on Tennessee Williams
3. [학술지(정기간행물)] - / 1977 / A Collection of Critical Essays : 123 ~ 37
4. [학술지(정기간행물)] - / 1979 / A Portrait of the Artist The Plays of Tennessee Williams
5. [학술지(정기간행물)] - / 1968 / The World of Tennessee Williams Essays in Criticism : 71 ~ 89
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UCI(KEPA) : I410-ECN-0101-2009-842-016499391