마스턴의 『소포니스바』를 통해 본 아브젝트와 마녀
Abject and the Witch in Marston’s Sophonisba
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This study sets John Marston’s Sophonisba in the context of the Jacobean Witch Craze in early modern England, and focuses on the integral relationship between two seemingly fragmented plots. The pure Sophonisba, in the main-plot, and the degraded witch, Erictho, in the subtext, are curiously linked in Marston’s moral landscape. Sophonisba is exalted as “the wonder of women”, representing the idealized female subject in the patriarchal order, while the monstrosity of the witch exposes the narrowness and fragility of the borders between seemingly the opposed qualities of good and evil, innocence and corruption. Julia Kristeva conceptualized the abject as disgusting and alien substances to be expelled for us to become a proper subject. This study reviews three types of abjection as represented in the play: the witch’s corporeality, her abode and her threat of castration. In conclusion, the witch, as the abject figure, problematizes the established binary opposition in the symbolic order and enables us to fathom Sophonisba’s significant lifelessness.
Abstract
This study sets John Marston’s Sophonisba in the context of the Jacobean Witch Craze in early modern England, and focuses on the integral relationship between two seemingly fragmented plots. The pure Sophonisba, in the main-plot, and the degraded witch, Erictho, in the subtext, are curiously linked in Marston’s moral landscape. Sophonisba is exalted as “the wonder of women”, representing the idealized female subject in the patriarchal order, while the monstrosity of the witch exposes the narrowness and fragility of the borders between seemingly the opposed qualities of good and evil, innocence and corruption. Julia Kristeva conceptualized the abject as disgusting and alien substances to be expelled for us to become a proper subject. This study reviews three types of abjection as represented in the play: the witch’s corporeality, her abode and her threat of castration. In conclusion, the witch, as the abject figure, problematizes the established binary opposition in the symbolic order and enables us to fathom Sophonisba’s significant lifelessness.
참고문헌 (24)
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