하얀 악마에 나타난 극작기법 연구

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인용문헌
[Abstract]

본문내용

ne. Critical Practice. London and New York: Routledge, 1980.
Dollimore, Jonathan. Radical Tragedy. London: Harvester Wheatsheaf, 1984.
Eagleton, Terry. Criticism and Ideology. London and New York: Verso, 1976.
Fraser, A. R. and Norman Rabkin. Drama of the English Renaissance. New York: Macmillan Publishing Company, 1976.
Leech, Clifford. John Webster. London: The Hogarth Press, 1951.
Mulryne, J. R. "The White Devil and The Duchess of Malfi". Jacobean Theatre. Ed. John Russell Brown and Bernard Harris, New York: Capricon Books, 1960.
Ornstein, Robert. The Moral Vision of Jacobean Tragedy. Madison and Milwaukee: The U of Wisconsin P, 1965.
Price, H. T. "The Function of Imagery in Webster." Elizabethan Drama. Ed. Ralph J. Kaufmann, New York: Oxford UP, 1961.
Ribner, Irving. Jacobean Tragedy. New York: Barnes and Noble Inc., 1962.
Scott-Kilbert, Ian. John Webster. London: Longmans, 1970.
Williams, Raymond. Marxism and Literature. Oxford: Oxford UP., 1977.
[Abstract]
A Study on the Dramatic Technique in The White Devil
Hee-Kyung Kang
The tragic world of Webster's The White Devil is characterized by the terror of death and vengeance rendered without moral conflict and judgement. It has been considered that such a lack of moral action in the drama was attributed to the passion of lust and ambition, "the hidden human corruption". In this context, many critics have viewed The White Devil as a play that reflected a scepticism of humanism in the Jacobean period in which the loss of the dignity of man and the powers of his mind prevailed.
My intention here is to examine three distinct dramatic techniques that Webster uses to present social force as a destructive power by setting against the humanist idea of the evil mind being the tragic force. First, the juxtaposition of contradictory values is dramatized to reveal the fact that the value of good and evil is interchangeable for they are two sides of the same coin. By revelation, we are led to the recognition that the individual choice of good or evil cannot be a determining momentum which results in tragic suffering. As Lodovico's moral illusion ironically shows, it is the falseness of soial value that serves as a source of tragic suffering. Next, the structural contrast between the characters problematizes the false social consciousness which constructs the characters as victim of society. In particular, the contrast of two pairs, Isabella vs Vittoria and Flamino vs Marcello makes us see that the internalized roles of subservience are only exploited to be destroyed. Finally, Webster exposes the contradictions in a structure of feeling thereby undermining the development of moral action which is essential to humanist tragedy based on the consistency of human spirit. As Brachiano and Vittoria reveal themselves in their attitudes toward love, they are not slaves of passion and uncontrollable appetities. This exposure rejects the creation of a tragic sense of love and death as a consequence of a fatal love.

키워드

하얀악마,   극작기법,   연구