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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.
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- 자료유형
- 학술저널
- 저자정보
- 발행연도
- 2020.9
- 수록면
- 439 - 459 (21page)
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The question ‘How Many Children Had Lady Macbeth?”, raised by L. C. Knights in 1932, was intended not to offer an answer but to express an opinion. It was demonstrative of the dismissal of reading Shakespeare as a creator of living characters and the necessity of reading Shakespeare plays as dramatic poems. The question worked as a pointer, thereby drawing attention to the significance of children in Macbeth. Along with Knights, A. C. Bradley and Cleanth Brooks measured the potential meanings of the play in accordance with the recurring images of children. Though the three critics left this question unanswered in the first part of the twentieth century.
This paper points out that the answer to Knights’s question is provided by the film versions of the play in the early twenty-first century: Macbeth and Lady Macbeth are a childless couple. Illustrative cases are Mark Brozel’s Macbeth in 2005 and Justin Kurzel’s in 2015. Brozel and Kurzel portray the Macbeths as parents who lost a baby son. The grief for their lost child brings with it their corresponding capacity for power and to forward their ambition for the future. But they fail to find out how to go beyond the challenges of what was done in the past. As they build on the future, they destroy their friends’ homes by making them childless or their children fatherless. Brozel’s film and Kurzel’s end with the appearances of Duncan’s son and Banquo’s, thereby foretelling a future conflict between them, that is, a repetition of an unexpected twist of fate that the Macbeths have faced up to. Both films make childlessness a central theme and convey a sense of why this thing happens rather than what happens.
This paper points out that the answer to Knights’s question is provided by the film versions of the play in the early twenty-first century: Macbeth and Lady Macbeth are a childless couple. Illustrative cases are Mark Brozel’s Macbeth in 2005 and Justin Kurzel’s in 2015. Brozel and Kurzel portray the Macbeths as parents who lost a baby son. The grief for their lost child brings with it their corresponding capacity for power and to forward their ambition for the future. But they fail to find out how to go beyond the challenges of what was done in the past. As they build on the future, they destroy their friends’ homes by making them childless or their children fatherless. Brozel’s film and Kurzel’s end with the appearances of Duncan’s son and Banquo’s, thereby foretelling a future conflict between them, that is, a repetition of an unexpected twist of fate that the Macbeths have faced up to. Both films make childlessness a central theme and convey a sense of why this thing happens rather than what happens.
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UCI(KEPA) : I410-ECN-0101-2020-840-001295841