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학위논문 동서

Eugene O`Neil의 표현주의 작품에 나타난 음향효과 연구:The emperor Jones, The hairy ape, Dynamo중심으로

O`Neil Eugene

부산: 동아대학교 대학원 1991

57장; 26 cm

학위논문(석사)-- 동아대학교 대학원: 영어영문학과, 1991. 1

영문초록 : The purpose of this dissertation is to research sound effects in Eugene O'Neill's expressionistic plays, The Emperor Jones, The Hairy Ape, and Dynamo. Chapter Ⅰ deals with expressionism, a new technique of the dramatic art, which appeared in Germany from 1910 to 1924. Its main purpose was to express what one felt about the subject he wanted to describe rather than represent it simply as it was. O'Neill tried to depict the conflicts and agonies of the soul of man, using this dramatic contrivance of expressionism while drawing on the ideas of Strindberg, Freud, and Jung. O'Neill's restless spirit made him attempt at various experiments with the style of his dramas. Recongnizing the limitations of naturalism and realism, he turned to a new technique. Chapter Ⅱ discusses sound effects in The Emperor Jones, The Hairy Ape, and Dynamo, The Emperor Jones is considered as the finest and most original among his expressionistic plays. Sound effects in this play are the tom-tom drum beating, whistle and bell sounds, and the reports made by Jones's sheeting of his revolver. The symbolical implications are obvious when O'Neill uses the continuous tom-tom drum beating throughout the play. As tine passes, Jones's fear increases and the beating gradually quickens, which shows that Jones's conscious self has shed itself away and fallen into the depths of his unconsciousness, until it stops at the very moment of his death. Another important sound effect is six bullet shootings, Jones's shooting to protect himself ironically testifies to his awareness of his terror within himself. In The Hairy Ape O'Neill tried to present the predicament of modern man who lest his own identity in a world of machines and wanted to find a meaning of his existence. Sound effects in this play are metallic whistles and gongs, the tumult of sounds made by the drunken sailors, the brazen clang of the furnace doors as they are flung open or slammed shut, the grating, teeth-gritting grind of steel against steel, of crunching, the roar of leaping flames, the monotonous throbbing of the engines, voices and chorus effects, which symbolize dehumanizing conditions of nan brought about by the machine age. In Dynamo, Reuben, disgusted at his fundamentalist minister father's hypocrisy and baseness and shocked by his nether's betrayal, denounces both his parents and his father's God and finds a new one in the deified. Dynamo, "the Great Mother of Eternal life," sacrificing himself by throwing his body across the dynamo. Sound effects in Dynamo are the thunders and lightnings, the sounds of the water flowing over the near-by dam, and the hums of the generator. The thunders and lightnings symbolize God's wrath. The hums of the generator symbolize life's vital power. As a result of the foregoing analysis it can clearly be seen that sound effects as a dramatic technique is closely connected with the themes of O'Neill's plays.

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