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The purpose of the paper is to analyze two gay playwrights Tennessee Williams and Terrence McNally and to show the differences of the two playwrights in dealing with homosexual aspects. Between the two playwrights' major works, the Stonewall riots(l969) are placed. Even though millions of gay men and lesbians were enjoying the results of the riots, still most of them remained inside the closet. History says that the Stonewall riots have a significant socio-political meaning in the sense that the gay liberation came from the Stonewall riots, which would transform gay life in America. Gay people had no self-esteem before the riots. But after the riots, gay people's response to their sexual identity became to change slowly. These changes can be recognized through Williams's and McNally's attitudes in characterizing gay men in their works.
Williams tries to overthrow the traditional concept of sex roles based on hetero-centralism in The Glass Menagerie(1945) and hides his homosexual identity within the actions of a heterosexual female character, Blanche in A Streetcar Named Desire(l947). In Cat on a Hot Tin Roof(1955), Big Daddy shows an antihomophobic position and tries to understand Brick who is thought of as a gay man. Williams's own guilt complex, however, makes him kill Sebastian in Suddenly Last Summer(1958). Williams's negative attitudes such as self-hatred and homophobia towards describing homosexual aspects can be shown in McNally's major works, especially Lips Together, Teeth Apart(l991). But a generation gap exists here. McNally introduces the new generation of gay men such as Mike and Paul in The Lisbon Traviata(l989) and shows how to love each other and how to overcome society's prejudices against gay men in Love! Valour!, Compassion!(l994).
Williams tries to overthrow the traditional concept of sex roles based on hetero-centralism in The Glass Menagerie(1945) and hides his homosexual identity within the actions of a heterosexual female character, Blanche in A Streetcar Named Desire(l947). In Cat on a Hot Tin Roof(1955), Big Daddy shows an antihomophobic position and tries to understand Brick who is thought of as a gay man. Williams's own guilt complex, however, makes him kill Sebastian in Suddenly Last Summer(1958). Williams's negative attitudes such as self-hatred and homophobia towards describing homosexual aspects can be shown in McNally's major works, especially Lips Together, Teeth Apart(l991). But a generation gap exists here. McNally introduces the new generation of gay men such as Mike and Paul in The Lisbon Traviata(l989) and shows how to love each other and how to overcome society's prejudices against gay men in Love! Valour!, Compassion!(l994).
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참고문헌 (23)
참고문헌 신청
1. [단행본] - Abel, Sam / 1997 / Uneasy Transitions: Reassessing The Lisbon Traviata and Its Critics. in: Terrence McNally: A Casebook / Garland : 37 ~ 54
2. [단행본] - Altman, Dennis / 1982 / The Homosexualization of America / Beacon
3. [학술지(정기간행물)] - Arrell, Douglas / 2008 / Homosexual Panic in Cat on a Hot Tin Roof / Modern Drama 51 (1) : 60 ~ 72
4. [단행본] - Clum, John M. / 2000 / Still Acting Gay / St. Martin’s
5. [단행본] - Clum, John M. / 1997 / The sacrificial stud and the fugitive female in Suddenly Last Summer, Orpheus Descending, and Sweet Bird of Youth. in: The Cambridge Companion to Tennessee Williams / Cambridge UP : 128 ~ 146
2. [단행본] - Altman, Dennis / 1982 / The Homosexualization of America / Beacon
3. [학술지(정기간행물)] - Arrell, Douglas / 2008 / Homosexual Panic in Cat on a Hot Tin Roof / Modern Drama 51 (1) : 60 ~ 72
4. [단행본] - Clum, John M. / 2000 / Still Acting Gay / St. Martin’s
5. [단행본] - Clum, John M. / 1997 / The sacrificial stud and the fugitive female in Suddenly Last Summer, Orpheus Descending, and Sweet Bird of Youth. in: The Cambridge Companion to Tennessee Williams / Cambridge UP : 128 ~ 146
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