일라이자와 갈리마르의 생존을 위한 니체적 언어전략『피그말리언』과 『M. 나비』를 중심으로

초록

Such contrapuntal, cyclic, and meta-theatrical plays as Pygmalion and M. Butterfly principally show how to survive under hermeneutic confliction and linguistic collision between higher classes and an uneducated group in the post-modernistic cultural society. George Bernard Shaw and David Henry Hwang tried to produce imaginative and creative word-players like comic clowns who can liberally use a unique metonymic, polyphonic rhetoric against rationalism and logocentrism of structural linguistics. They prefer the deconstructive circle space of word-play and Dionysian-primitive body revelation through repetition, linguistic violence, cynicism, appropriation, mimicry, subversion, bisexuality‘ homosexuality, imperialism, revenge, flashback, monologue, a play within a play, and metonymy. Eliza and Gallimard recognize the political-cultural crisis of hierarchism and classification in habitus concealed underneath the ideological structure of modernism, and depend on the feasible methods like metonymy and polyphony to survive under the pressure of high habitus.

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