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학술연구/단체지원/교육 등 연구자 활동을 지속하도록 DBpia가 지원하고 있어요.
커뮤니티
연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
초록· 키워드
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Marina Carr’s third Midland play By the Bog of Cats shows an inseparable relationship between the heroine and the landscape, the bog. The bog, with qualities of both the earth and the lake, belongs to neither of them entirely. Hester Swane, the heroine, also belongs nowhere in the local community, living an outsider’s ambiguous life because of her tinker blood, and not leaving the bog even when she is forced to.
Hester cannot get over the longing for her mother all her life, as she remains mired in the bog. Hester’s mother crossed the bog and left her seven-year-old daughter, and Hester, even in her forties, keeps waiting for her mother by the bog day and night. Hester does not leave the bog, which symbolizes her mother, being a physical and spiritual home to her, and furthermore, it becomes evident that the bog also has mystical properties as the play progresses.
As Carr explains, By the Bog of Cats is characterized as a place where the natural and the supernatural world, reality and illusion, life and death and the past and the present cross each other. Multiple worlds’ crossing becomes possible as the bog has been a source of many histories of people like Hester and her mother from generation to generation, and Hester is attached to the bog because her history lies there. For Carr, Hester’s bog has a deeper meaning than just being a landscape. It means Hester’s whole story including her past memories and life after death.
Hester cannot get over the longing for her mother all her life, as she remains mired in the bog. Hester’s mother crossed the bog and left her seven-year-old daughter, and Hester, even in her forties, keeps waiting for her mother by the bog day and night. Hester does not leave the bog, which symbolizes her mother, being a physical and spiritual home to her, and furthermore, it becomes evident that the bog also has mystical properties as the play progresses.
As Carr explains, By the Bog of Cats is characterized as a place where the natural and the supernatural world, reality and illusion, life and death and the past and the present cross each other. Multiple worlds’ crossing becomes possible as the bog has been a source of many histories of people like Hester and her mother from generation to generation, and Hester is attached to the bog because her history lies there. For Carr, Hester’s bog has a deeper meaning than just being a landscape. It means Hester’s whole story including her past memories and life after death.
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참고문헌 (15)
참고문헌 신청
Bourke, Bernadette / 2003 / Carr’s ‘cut-throats and gargiyles: The Study of Greeks and Ghosts in the Shaping of the American Premiere of By the Bog of Cats, In The Theatre of Marina Carr: Before Rules Was Made / Dublin: Carysfort P :128~144
Sihra, Melissa / 2005 / Nature Noble or Ignoble: Woman, Home and Spaces Beyond in the Theatre of Marina Carr, In Irish Theatre On Tour: Irish Theatrical Diaspora Series 1 / Carysfort P :133~148
Turner, Victor / 1974 / Dramas, Fields, and Metaphors: Symbolic Action in Human Society / Cornell
Battersby, Eileen / 2002 / Marina of the Midlands / Irish Times 18 June 2002:15
Bourke, Bernadette / 2003 / Carr’s ‘cut-throats and gargiyles: The Study of Greeks and Ghosts in the Shaping of the American Premiere of By the Bog of Cats. In The Theatre of Marina Carr: Before Rules Was Made / Carysfort P :128~144
Sihra, Melissa / 2005 / Nature Noble or Ignoble: Woman, Home and Spaces Beyond in the Theatre of Marina Carr, In Irish Theatre On Tour: Irish Theatrical Diaspora Series 1 / Carysfort P :133~148
Turner, Victor / 1974 / Dramas, Fields, and Metaphors: Symbolic Action in Human Society / Cornell
Battersby, Eileen / 2002 / Marina of the Midlands / Irish Times 18 June 2002:15
Bourke, Bernadette / 2003 / Carr’s ‘cut-throats and gargiyles: The Study of Greeks and Ghosts in the Shaping of the American Premiere of By the Bog of Cats. In The Theatre of Marina Carr: Before Rules Was Made / Carysfort P :128~144
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