ScholarWorks@숙명여자대학교

초록

This study examines the aesthetic originality of the work and the politics of the work through the analysis of Lee Eun-yong's play We Are (No)Jokes. This work is a writing that resists the conventional discourse of the media and the public about transgender people, and it controversially contains the issues of pride and minority politics as transgender literature. However, discussing the meaning as transgender literature alone cannot fully understand the aesthetic beauty and meaning of Lee Eun-yong's work. In addition, it is not enough to approach the plot or structure of the work based on the theatrical analysis methodology. Sedgwick calls the most common theory of criticism and interpretation 'paranoid reading' and criticizes this for simplifying complex realities, ignoring the way emotions work, and showing a reductionist character that reaffirms what we already know. This study reads Lee Eun-yong's play by referring to Sedgwick's criticism and suggestions. As a transgender writer, I would like to gauge what and how Lee Eun-yong wanted to talk in the discourses he referred to or would not refer to. I would like to look at the languages, tones, images, and fragmented motifs that appear in various places of the story that explain or fail to explain the existence of each character. Through this reading, we understand the unique aesthetics and emotions of Lee Eun-yong's play and review the “politics of art” problem they achieved.

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