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A Mephistophelian Betrayal in Gertrude Stein’s Doctor Faustus Lights the Lights

  • Journal of Humanities, Seoul National University
  • 2018, 75(4), pp.335-375
  • DOI : 10.17326/jhsnu.75.4.201811.335
  • Publisher : Institute of Humanities, Seoul National University
  • Research Area : Humanities > Other Humanities
  • Received : October 24, 2018
  • Accepted : November 12, 2018
  • Published : November 30, 2018

Byun, ChangKu 1

1서울대학교

Accredited

ABSTRACT

This paper examines how the conflict between the source (the Faust legend) and the style (an avant-gardist) affects Gertrude Stein’s play Doctor Faustus Lights the Lights. To order to present the play in a static, and not dynamic, way, she excludes elements causing dramatic tension. By eliminating conflict and confusion in crucial moments of the plot, and then by repeating simple and uncharacteristic expressions, she invites the readers to pay attention to the present state of the characters. There is a constant movement in the play, but it is only movement for its own sake. As monologic rather than dialogic, speeches are not expressions of personal thoughts. She shocks the readers by betraying their general anticipation of the development of the play. The expectation of the traditional dramatic flow from the well-known legendary sources is disappointed by the language which only exhibits self-referentiality, repeatability and playfulness. It lacks dramatic conflict or suspense, for it excludes dramatic tension. Stein has always argued that good writing should have an entity that is without limit of identity and time. She, like Mephistopheles, hides her intentions and tempts the readers to pursue meaning by themselves from the Faust legend, the western society in the early 20th century, and the ideas of herself. As an avant-gardist drama, the play deceives the readers by presenting the traditional elements in a non-traditional fashion. It is a paradoxical conspiracy to make the readers concern to achieve more productive reception.

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