• 영미문화
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• 제14권2호
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• pp.49-75
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• 2014

This paper argues that John Leguizamo disguises ethical intention with humor in his one-person show, Freak. The argument proceeds in three stages. First, on the basis of Slavoj ${\check{Z}}i{\check{z}}ek^{\prime}s$ theory that fantasies teach us how to desire discussed in The Sublime Object of Ideology, I analyze how and why Leguizamo exaggerates and thus de-constructs the ideological fantasies about Latin Americans in Freak. Through this analysis the ridiculous exaggeration of the fantasies and their deconstruction emerges as the means to surface the trauma caused by the fantasies, internally and externally curing and reconciling the audience. Second, I apply ${\check{Z}}i{\check{z}}ek^{\prime}s$ theory of the quilting point introduced in Looking Awry: An Introduction to Jacques Lacan through Popular Culture to reveal how "blots" in Freak form "black holes" in the audience's consciousness to smash their established view of the reality, inducing them to encounter with "the real." The investigation into Leguizamo's use of humor as the quilting point illuminates how he invites the audience to look awry beyond the popular fantasy at "the real" America. Third, on the ground of Emmanuel Levinas's theory that theaters are the space of ethics, namely "ethotopos" to emphasize responsible actions discussed in "Ethics as First Philosophy," I assert that Leguizamo disguises his ethical message with humor so as for the audience to recognize their responsibility for others in America and take action towards change.

• 영미문화
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• 제18권4호
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• pp.103-137
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• 2018

Harold Pinter's One for the Road(1984) is a play about violence. Nicholas, who appears to be the manager of a place, interrogates Victor, Nicky, and Victor's wife Gila in a room for one day from morning to night. There is no direct physical violence in this play. But hints about the atrocities that took place outside the stage make the audience guess the violence and cruelty. Violence, which is not seen as such, is the central theme of the play. One for the road is worth reading as a resistance to breaking the mirror of global ideology, not as it deals with violent events confined to Turkey. The problem which Pinter had in mind, in particular, is that the United States plays a leading role in producing world-class ideologies, and that Britain is involved in collusion with the United States in cultivating such ideological fantasies, both abroad and at home. This thesis analyzes the contrasting reactions of each character in the play based on this social context. In particular, the conflicting reactions of the characters on the system are the most important conflict in the drama. Nicolas is a manager who moves on the system without seeing the truth. Victor and his family, on the other hand, do not move within the same ideology as Nicholas. This paper will take a look at what their strategies of resistance is and how they are revealed in the work. In fact, Nicholas appears split. Nicholas seemingly reacted decisively to the interpellation of the system. He expresses his belief and respect for the legitimacy of his actions. However, he has repeatedly sought the respect and love of Victor. Nicholas is now swaying. The theme that Nicholas presents consciously by grabbing at his own sway is 'Patriotism.' But this fantasy splits through Victor's silence and death demands. Therefore, the questions to be answered are: So why does Nicolas appear to be torn apart in a system that directs violence? But why is he forced to assimilate into the system? What other figures imply? To answer these questions, this thesis will take Slavoj Zizek's view of ideology. On the other hand, there are previous studies that read the system of violence in One for the road from the Althusser's perspective. Surely, this play explores the role of Ideological State Apparatus. However, from the point of view of Althusser, it is not possible to read Nicholas's division and the point of resistance seen by Victor's family. Pinter does not limit the scope of the ideological system as a closed one that regenerates ideologies, but secures the domain of main body resistance and struggle. On the other hand, there are already several domestic theses that read Pinter's work in Zizek's perspective. But these theses are mainly focused on analysis of Mountain Language. What this thesis would suggest is that there is a potential for an ethical figure of Zizek to be considered in One for the Road.