김영아, - 마리나 워너의 『인디고』와 미셸 클리프의 『하늘로 통하는 전화는 없다』 page(s): 187-215  (29 pages)
  (Yeung-ah Kim,   Modern Mirandas’ Rewriting of Shakespeare’s The Tempest : Marina Warner’s Indigo or, Mapping the Waters and Michelle Cliff’s No Telephone to Heaven.)

Abstract

For feminist critics and writers, Shakespeare’ The Tempest has been an unsatisfactory as well as an embarrassing text because the contradictory position of Miranda in the play represents that of all ‘hite’or privileged women in the colonial project. Despite her small and comparatively passive role, Miranda is crucial to the play’ dynamics of power in so far Prospero justifies Caliban’ enslavement by his attempt to rape her. Her position is contradictory in that her participation in her father’ colonial project confirms her subordination to her father while she seems to be an beneficiary. What we’e witnessed since 1980s is women writers’attempt to rewrite The Tempest to create a modern Miranda who refuses to be in ‘he Miranda’ trap, being forced into unwitting collusion with domination by appearing to be a beneficiary.’In placing Miranda at the center of their narrative, women writers challenge not only Shakespeare’ The Tempest but also anti-colonial revisions of the play, which mostly focus on creating Caliban as a figure of resistance. Their rewritings can thus be described as the attempt to reconsider post/colonialism and the complex interrelations between gender and racial difference from the viewpoint of women by giving voice to female presences, which are erased and silenced alike in Shakespeare’ and Caliban-centered appropriations of the play. Through this, they also strives to find themselves a way out of ‘he Miranda’ trap,’“ in which they are caught as the descendents of Miranda. Marina Warner’ Indigo or, Mapping the Waters (1992) and Michelle Cliff’”s No Telephone to Heaven (1987) are perhaps the most ambitious recent attempts by contemporary women writers’to rework The Tempest. In both novels, the heroine is a modern Miranda in the twentieth century and the main narrative is their struggle to escape from the father’ plot. However, the new plots Warner and Cliff write for their Mirandas are distinctively different and even in contrast to each other. This article aims to examine their differences and the implications of them. 
  
 저자 키워드  Key words
  
 식민주의, 탈식민주의, “미란다의 덫”, 셰익스피어, 『태풍』, 마리나 워너, 『인디고 혹은 바다의 지도그리기』, 미셸 클리프, 『하늘로 통하는 전화는 없다』, colonialism, post-colonialism, “iranda Trap, ”Shakespeare, The Tempest, Marina Warner, Indigo or, Mapping the Waters, Michelle Cliff, No Telephone to Heaven.