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A Study on the ‘Recognition Struggle’ Aspect of Go, Yeon-Ok’s play -Focused on 「When I was a Raven」-

JINJU 1

1전북대학교

Accredited

ABSTRACT

This study examines Go, Yeon-Ok’s practical, specific social criticism and a alternative social aspect through her works. As the myths and tragedies of her works have been studied extensively, the practical and specific alternatives of the playwright and her languages have been neglected. 「When I was a Raven」 is different for other works about the point that the play have futuristic ending and recover of the community through the self-recognition by the members. In particular, the process in which the main character ‘Boy’ embraces the community denying himself and the mutual recognition process in which the boy is accepted from the community is the process of not only the main character but also each character is meeting, In this regard, it reminds the main premise of Honneth's "the struggle for recognition". According to Axel Honneth, the motive of struggle is disrespect, and the goal of the struggle is recognition. The cause of the struggle for recognition is the negation of self - dignity and the process of regaining unjust self - esteem due to neglect. He tried to explain the dynamics of society through this model of recognition struggle, and hoped that he could analyze the pathological phenomenon of society. The boy's recognition struggle takes a threatening attitude. His goal, however, is not to threaten his family, but to regain self-esteem and his dignity that are ignored by family members. His struggle is not just about his own. His struggle helps his brother and sister discover their own desires and selves. This work deals with 'middle class' and 'normal family' but does not aim at satire of a certain class. Rather, it shows how to establish the right individual identity in face of each person's truth. This Family recognize that each other can exist in one another through equal mutual recognition, not hierarchical order. It shows an attempt to extend the domain of the community physically and ideologically, while respecting the individuality and choice of the family members. The playwright says that the real space and community members who have undergone cracks and collapses in the social crisis accept each other as equal, not ignoring or denying one another, and real regeneration and recovery begin when they respect each other as space and existence as they are.

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