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논문 기본 정보

자료유형
학술저널
저자정보
정병언 (부산대학교)
저널정보
한국현대영미드라마학회 현대영미드라마 현대영미드라마 제30권 제2호
발행연도
2017.8
수록면
283 - 302 (20page)
DOI
10.29163/jmed.2017.08.30.2.283

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초록· 키워드

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This essay considers the making of sexual identity and its effects on homosexuals during the period of the Nazi regime in Martin Sherman’s Bent. It utilizes Michel Foucault’s theory of power along with the concepts of “social tattooing” and “the bios of zoe” in order to explore the ways in which Max, a promiscuous gay man in 1930s Berlin, is psychologically freed from the geography of exclusion. Mainly using the character’s journey from negation to acknowledgement of his sexual identity, this essay suggests that the negative image of homosexuality is not natural, but is symbolically constituted to solidify Hitler’s Nazi regime. Even though he is homosexual, Max is eager to wear the yellow star that shows he is a Jew by falsely proving to a Nazi SS officer and guards that he is “not bent.” Thus, his heterosexuality is socially constructed when they cry “make him a Jew.” Max voluntarily repeats the practices of disguising himself as a heterosexual, for homosexuals are “tattooed” to be the lowest among the prisoners. This ideology of classification functions as the eye of power to render him docile in that he obeys the will of the Nazi regime. However, Max finally wears Horst’s jacket with the pink triangle on it and kills himself by walking into the electrified fence. This visual gesture represents his desire for a space of inclusion. By rejecting his “docile” body, he voluntarily chooses to become a homosexual speaking-subject.

목차

I. 서론
II. 정체성의 생산과 사회적 문신화
III. 동성애 금지와 순종하는 신체
IV. 발화를 통한 해방의 지리
V. 결론
인용문헌
Abstract

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