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Uhm Phd 8508794 R.Pdf INFORMATION TO USERS This reproduction was made from a copy of a document sent to us for microfilming. While the most advanced technology has been used to photograph and reproduce this document, the quality of the reproduction is heavily dependent upon the quality of the material submitted. The following explanation of techniques is provided to help clarify markings or notations which may appear on this reproduction. I. The sign or "target" for pages apparently lacking from the document photographed is "Missing Page(s)". If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting through an image and duplicating adjacent pages to assure complete continuity. 2. When an image on the film is obliterated with a round black mark, it is an indication of either blurred copy because of movement during exposure, duplicate copy, or copyrighted materials that should not have been filmed. For blurred pages, a good image of the page can be found in the adjacent frame. If copyrighted materials were deleted, a target note will appear listing the pages in the adjacent frame. 3. When a map, drawing or chart, etc., is part of the material being photographed, a definite method of "sectioning" the material has been followed. It is customary to begin filming at the upper left hand corner of a large sheet and to continue from left to right in equal sections with small overlaps. If necessary, sectioning is continued again-beginning below the first row and continuing on until complete. 4. For illustrations that cannot be satisfactorily reproduced by xerographic means, photographic prints can be purchased at additional cost and inserted into your xerographic copy. These prints are available upon request from the Dissertations Customer Services Department. 5. Some pages in any document may have indistinct print. In all cases the best available copy has been filmed. Uni~ MicrOfilms International 300 N. Zeeb Road Ann Arbor. MI48106 8508794 Shim, Jung Soon SELF VS. TRADITION: IMAGES OF WOMEN IN MODERN AMERICAN AND KOREAN DRAMA University of Hawaii PH.D. 1984 University Microfilms International 300 N. Zeeb Road, Ann Arbor, MI48106 SELF VS. TRADITION: IMAGES OF WOMEN IN MODERN AMERICAN AND KOREAN DRAMA A DISSERTATION SUBMITTED TO THE GRADUATE DIVISION OF THE UNIVERSITY OF HAWAII IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY IN AMERICAN STUDIES DECEMBER 1984 By Jung Soon Shim Dissertation Committee: David Bertelson, Chairman James McCutcheon David Stannard Donald Worster Alice Chai I dedicate this work to the loving memory of my late Mother and Sister, and to my Father, who all gave me a reason to finish this work. ACKNOWLEDGMENTS Many people have given me a helping hand in the course of this project. I wish to express my deepest gratitude to Dr. David Bertelson, the committee chair, who helped me through the long, strenuous process of dissertation writing with such understanding patience and so many insightful comments; and also to my committee members, Dr. James McCutcheon, Dr. Donald Worster, Dr. David Stannard and Dr. Alice Chai, who not only helped me with their constructive comments but also inspired me with their firm belief in the American ideal of equality and individualism in the course of the dissertation process. On the Korean side, I would like to acknowledge my indebtedness to Professor Yu, Min-yong for his warm support and help. I also want to express my heartfelt thanks to playwright Kim, Cha-rim; and especially to Megan Terry for her wholehearted, sisterly help and support in composing a chapter on herself. Lastly, I want to thank my friends, both American and Korean, whose support and encouragement made easier the long, tiring process of writing. ABSTRACT This dissertation is a study of the images of women in modern American and Korean plays written by leading male and female play­ wrights from the 1920s to the early 1970s. It deals with Eugene O'Neill, Tennessee Williams, and Megan Terry on the American side and Kim Wu-chin (~-1";&)' Yu Chi-jin (-rr tl ~ ), and Kim Cha-rim ({1 ;{~ ~ ) on the Korean si de. Women in modern times--both American and Korean--have become more concerned with their identity as they have experienced changes in their social roles and values. The 1920s marked the beginning of modernity in the history of American sex roles; the Victorian feminine ideal ended and a new generation identified with the flappers began. The same period witnessed a similar phenomenon with the appearance of the New Woman in Korea. Assuming that literature reflects society and that the writer is a very sensitive antenna whose perceptions are faithful to what is going on in society, this study examines how the authors formed their perceptions of and attitudes toward women, their changing roles, morality, and values in a particular culture and society, and how these have all materialized in their portrayal of women characters. It also speculates on what these images of women tell about the authors' gender, society, and culture. Character analysis is the main mode of interpretation, with a focus on the question of the identity of women in relation to socio­ economic and psychological factors: how a woman defines her identity; v whether she fulfills herself; how she views happiness, love, and marriage; and finally, why she does what she does. The results of this analysi~ s;;ggest that most of the female characters examined here experience an identity crisis because of the conflict between their own self-aspirations and traditional role expectations. The analysis also indicates that male authors depict female characters more or less according to the culturally stereo­ typical ideas about women, whereas women authors attempt to create unconventional role models for women. It also suggests cultural idiosyncracies: female characters in plays by American writers show a relatively stronger sense of individuality than female characters drawn by Korean writers. All these similarities and differences offer us insight into the positions of women in the more individualistic culture of America versus the family and group-oriented culture of Korea. TABLE OF CONTENTS ACKNOWLEDGMENTS iii ABSTRACT iv CHAPTER INTRODUCTION CHAPTER II WOMEN OF AMERICA AND KOREA IN THE MODERN AGE: THE PURSUIT OF INDIVIDUALITY AND EQUAL RIGHTS .............. 14 CHAPTER III THE POST-WORLD WAR I PERIOD: THE UNFULFILLED NEW WOMAN 49 Eugene 0 I Nei 11 (1888-1953) 49 Anna Christie .. 59 Strange Interlude . 67 Kim Wu-chin (1897-1926) 76 Yi Yong-nyo .... 87 Disillusionment of a Ragged Poet (Tudogl S1,n ui hwanmyol) 97 CHAPTER IV THE POST-WORLD WAR II PERIOD: WOMEN AS VICTIMS ....... 106 Tennessee Williams (1914-1983) 106 A Streetcar Named Desire 117 Cat on a Hot Tin Roof 126 Yu Chi-jin (1905-1974) .. 135 Sisters I (Chamae) . 146 Sisters II (Chamae) 155 CHAPTER V WOMEN IN REVOLT . 164 Megan Terry (1932­ 164 Calm Down Mother 176 Approaching Simone 181 vii Kim Cha-rim (1926- ) ..•... 192 Whirling Wind (Tolgae param) 197 Flowery Pig (Hwadon) 203 CHAPTER VI CONCLUDING SPECULATIONS 211 BIBLIOGRAPHY 219 CHAPTER I INTRODUCTION Context and Setting People in the modern age are becoming more and more individually oriented. Value systems embracing the attitudes toward morality and the sex roles of previous ages have lost meaning for wo/men in the wake of the modernization process, leading them to become more con­ cerned with self and encouraging them to find meaning within their individual selves. This is true both of America and Korea. The former as an industrialized country and the latter as a rapidly industrializing one have exhibited all these effects, though in different degrees, in the course of industrialization. Changes have also taken place in women's roles and the way women define their identity. Women in both countries are becoming more asssertive about their individuality and equal rights. But beneath this modern drive traditional forces still affect women powerfully, creating confusion and conflict. Their histories in both countries in the modern age are characterized by the tension between these two opposing tendencies: one initiated by women themselves as a way to assert their individuality and the other representing the traditional expectations imposed by the larger male-dominated society. 2 In America the traditional ideal of women was manifested in the nineteenth century by the cult of True vlomanhood,l which buttressed female submissiveness, purity, chastity and domesticity particularly for those of the middle and upper classes. 2 A similar ideal prevailed in Korean society during the same period for women of the same classes. The Confucian-based ideal of the Virtuous Lady3 was esteemed by the society as the symbol of female submission, obedience and chastity, and women were expected to strive hard to emulate it. Social myths reinforce social creeds as well as reflect them. These two different myths inculcated in essence the doctrine of women's sphere: the presumption that women's place is the home and their roles are properly those of wife and mother. They should define them- selves in relation to men, for they have no identity in their own right except as "the other." As a result, self-effacement and invisi- bility are considered more virtuous than self-assertion and visibility. In America, the 19205 mark a strong break with the concept of True Womanhood. 4 The winning of the suffrage in 1920 after a long struggle epitomizes this change. Demanding the right to vote posed lBarbara Welter, "The Cult of True Womanhood, 1820-1860," in Woman and Womanhood in America, ed. Ronald W. Hogeland (Lexington, Mass.: D. C. Heath & Co., 1973), p. 104. 2These classes refer to of ~ (Yangban) and ~ ~ (Chungi n) classes of the Yi Dynasty.
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