“포스트모던 드라마에 대한 기존 연구들이 대부분
유희성과 공연성에 초점을 맞추고 있는 방법론상의 한계를 지적하고
포스트모던 숭고성에 근거한 인식론적 관점을 제시하다”

기존의 포스트모던 드라마 연구가 연극 현상, 무대 공연 기법 등 공연 텍스트의 실증적 분석에 초점을 맞추었다면, 이 책의 연구는 철학적이고 인식론적 연구라 할 수 있다. 즉 포스트모던 시대에 리얼리티를 어떻게 인식하고 설정하는가를 탐색하며, 그 핵심 개념으로 포스트모던 숭고성을 설정한다. 이 책에서는 최근 200년 동안 계몽주의에서부터 포스트모던 숭고성까지 변모해 온 리얼리티 인식이 서구 연극의 무대화(mise-en-sc?ne)에 어떻게 반영되었는지를 추적하였다.

“포스트모던 드라마에 대한 기존 연구들이 대부분

유희성과 공연성에 초점을 맞추고 있는 방법론상의 한계를 지적하고

포스트모던 숭고성에 근거한 인식론적 관점을 제시하다”

〓

기존의 포스트모던 드라마 연구가 연극 현상, 무대 공연 기법 등 공연 텍스트의 실증적 분석에 초점을 맞추었다면, 이 책의 연구는 철학적이고 인식론적 연구라 할 수 있다. 즉 포스트모던 시대에 리얼리티를 어떻게 인식하고 설정하는가를 탐색하며, 그 핵심 개념으로 포스트모던 숭고성을 설정한다. 이 책에서는 최근 200년 동안 계몽주의에서부터 포스트모던 숭고성까지 변모해 온 리얼리티 인식이 서구 연극의 무대화(mise-en-scene)에 어떻게 반영되었는지를 추적하였다.



In theorizing the failure of the Enlightenment and the rise of the postmodern Sublime, this work encompasses all the major thinkers from Hegel, Nietzsche, Derrida, ?i?ek, Jameson, Adorno, Lyotard, Bauman to Baudrillard thereby tracing out the evolution of modernity to postmodernity substantiated in the dramatic works by Shaw, O’Neill, Synge, Joyce, Pledger, Pinter and Beckett.

〓

This work tackles the compelling subject of the postmodern sublime, which renders objects, referents or the reality sublime i.e., unrecognizable and unpresentable beyond human imagination and understanding. Compared to preceding dramaturgical research on postmodern drama highlighting the two vital elements of mise-en- scene, i.e., playfulness and performativity, the thesis of this work is epistemological based on a tripartite taxonomy of the postmodern sublime: 1) the politico-economical sublime; 2) the textual sublime; 3) the technological sublime. The epistemological approach thus questions the nature of reality represented on stage in lieu of dramaturgical strategies or performance phenomena currently practiced among drama critics.



추천사



Hoon-sung Hwang’s excellent systematic study of modern drama captures the historical, political, and aesthetic context of the great shift from modernity to postmodernity In theorizing the failure of the Enlightenment and the rise of the postmodern Sublime, Hwang encompasses all the major thinkers from Hegel to Jameson, and from Derrida and Lyotard to Bourdieu The (English) drama highlights the major shifts in human thinking about these concepts and also, according to Hwang is itself illuminated through these concepts The genealogy traced through Shaw and O’Neill to Pinter and Beckett is compelling and insightful, and the volume will help specialists and non-specialists alike develop an understanding of the seismic changes in the philosophy and art of the last and present century

Janelle Reinelt

(Emeritus Professor of Theatre and Performance University of Warwick)



Professor Hoon-sung Hwang’s study of modern British drama in the context of Western thought from the Enlightenment to the present provides us with not only brilliant close readings of the work of playwrights from Shaw to Beckett but also valuable insights into the limits of our belief in “progress” and the possibilities of postmodern cultural critique

Elaine Kim

(Emeritus Professor of Asian American and Asian Diaspora Studies UC Berkeley)



저자 소개

황훈성(Hoon-sung Hwang)

Hoon-sung Hwang is a professor in English at Dongguk University in Seoul Korea, where he teaches courses on Modern and Postmodern Drama, Theater and Performance. He got Ph. D at English Dept. of UC Davis under Prof. Ruby Cohn with the dissertation, “One Mirror is Not Enough in Beckett’s Drama.” He has published essays in Modern Drama (1993), Degres (2005) and a book Death in Western Literature (2014), which awarded him Wooho Prize for human science.

Acknowledgements................................................................................................................ 3
Introduction ........................................................................................................................... 5

Theoretical Groundworks
1. Modern Drama as a Project of Enlightenment ................................................... 18
2. A Theoretical Excursion into the Postmodern Sublime ..................................... 45

Book I
I. Modern Drama of Enlightenment................................................................................. 86
1. The Plot Structure of Bernard Shaw's Didactic Drama ..................................... 86
2. he Dramatization of Habitus: A Bourdieun Reading of Pygmalion ............... 106
3. Eugene O'Neill's Dramatization of Nietzsche's Idea of
the Anti-Bourgeois Spirit ......................................................................................... 124
4. Political Unconscious Staged in J. M. Synge's
The Playboy of the Western World......................................................................... 152
5. "Circe": A Modernist's Gesture to Stage the Sublime
in the Human Psyche................................................................................................ 176

Book II
II. Postmodern Drama of the Sublime......................................................................... 202
1. The Postmodern Drama as mise-en-sc?ne of the Sublime .......................... 202
2. The Postmodern Politico-technological Sublime Staged
in David Pledger's K................................................................................................. 217
3. The Textual Sublime: Samuel Beckett's Endgame as
A Postmodern Allegory on the Relationship between Man and Nature ...... 235
4. The Political Sublime Staged in Harold Pinter's Late Plays ......................... 257
5-1. The Sublime Universe of Simulation in Beckett's Stage:
Reflexivity as the Exchange of Signs within the Text ................................... 273
5-2. Theatereality as a Way of Simulating Virtual Reality on Stage.................. 286

III. Conclusion....................................................................................................................... 319

Select Bibliography............................................................................................................... 324
Index....................................................................................................................................... 354