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논문 기본 정보
- 자료유형
- 학술저널
- 저자정보
- 발행연도
- 2004.9
- 수록면
- 511 - 540 (30page)
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Shakespeare's The Tempest has been one of the most instrumental texts in constructing and representing the colonial body. It has also served to reproduce imperial ideology. Most of all it was the first dramatization of the colonial master-servant relationship, by constructing Prospero and Caliban as extreme opposites such as culture and nature, noble and savage. Therefore it is only natural that a wide variety of intertextual adaptations of The Tempest has been attempted in order to criticize and overcome the colonial ideology in this postcolonial era. Among them, this study analyzes a Martinique political leader and writer Aime Cesaire's A Tempest and an English gay director and playwright, Philip Osment's This Island's Mine. This study focuses on their characteristic dramaturgical strategies in adapting Shakespeare's text and the way Shakespeare participated in the postcolonial discourse, thus enhancing understanding of the central issues in the postcolonial debates.
Cesaire transformed Shakespeare's text into a study on the colonial master-slave relationship, dismantling the stereotypical conception based on the western humanism that categorizes Caliban as "savage". He also dramatizes the effects that colonialism had on the construction of the colonial subject and on the psychology of both the colonizer and the colonized. Most of all Cesaire dramatizes the tragic effect of colonialism on the colonizer themselves by showing Prospero's mental collapse at the end of his adaptation.
By reinventing Caliban and Miranda as contemporary British gay and lesbian and thus foregrounding their queer bodies, Osment's This Island's Mine performs a kind of critical comment on the persistence of colonial practice on the dissident bodies in the postcolonial era. It also reveals hybridity and fragmentation of postcolonial subject by dramatizing postcolonial bodies irreconcilable with their own language.
Cesaire transformed Shakespeare's text into a study on the colonial master-slave relationship, dismantling the stereotypical conception based on the western humanism that categorizes Caliban as "savage". He also dramatizes the effects that colonialism had on the construction of the colonial subject and on the psychology of both the colonizer and the colonized. Most of all Cesaire dramatizes the tragic effect of colonialism on the colonizer themselves by showing Prospero's mental collapse at the end of his adaptation.
By reinventing Caliban and Miranda as contemporary British gay and lesbian and thus foregrounding their queer bodies, Osment's This Island's Mine performs a kind of critical comment on the persistence of colonial practice on the dissident bodies in the postcolonial era. It also reveals hybridity and fragmentation of postcolonial subject by dramatizing postcolonial bodies irreconcilable with their own language.
목차
Ⅰ. 『태풍』, 식민주의, 탈식민주의
Ⅱ. 에이메 세제르의 『어떤 태풍』 : 식민지배자와 피지배자들의 싸이코드라마
Ⅲ. 필립 오스몬트의 『이 섬은 나의 땅』 : 순응하지 않는 몸의 퀴어화와 분리된 탈식민적 몸
Ⅳ. 『태풍』의 탈식민주의적 각색 : 캘리밴 구하기(Salvaging Caliban), 혹은 셰익스피어 난도질하기(Savaging Shakespeare)
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