존슨의 『펜스허스트에게』 와 랜여의 『쿠컴의 묘사』 비교: 작가의식과 성 정체성을 중심으로
The Sex Politics of Authorship in Ben Jonson’s and Aemilia Lanyer’s Country House Poems.
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The scholarly interests in Ben Jonson’s country house poem “To Penshurst” has been revitalized since the recent discovery of Aemilia Lanyer’s country house poem, “The Description of Cookham”. Despite the growing debates about the gender differences not only of the two authors but also of the patrons these poems were dedicated to, not much has been explored as to the ways in which both Jonson and Lanyer empower their writing selves through the multi-layered discursive negotiations between themselves as authors and their patrons as dedicatees. I argue that Jonson and Lanyer choose different strategies of self-fashioning their authorships largely because Jonson around the time of publishing “To Penshurst” had been already firmly established as a primary court writer, whereas Lanyer was testing waters for her new venture into commercial books, a public arena mostly dominated by men in early modern times. To bolster his authorship, Jonson in “The Forest,” a collection of poems where “To Penshurst” originally appeared, carefully selects the patrons to be praised and presents himself as having been in mutual, not one-sided, relationship with his patrons. On the other hand, Lanyer takes fully advantage of religious discourse and devotional lyrics traditionally more open to women, thereby successfully turning her poems, penned by a plain woman like herself, into the glorious examples of God’s grace and love.
Abstract
The scholarly interests in Ben Jonson’s country house poem “To Penshurst” has been revitalized since the recent discovery of Aemilia Lanyer’s country house poem, “The Description of Cookham”. Despite the growing debates about the gender differences not only of the two authors but also of the patrons these poems were dedicated to, not much has been explored as to the ways in which both Jonson and Lanyer empower their writing selves through the multi-layered discursive negotiations between themselves as authors and their patrons as dedicatees. I argue that Jonson and Lanyer choose different strategies of self-fashioning their authorships largely because Jonson around the time of publishing “To Penshurst” had been already firmly established as a primary court writer, whereas Lanyer was testing waters for her new venture into commercial books, a public arena mostly dominated by men in early modern times. To bolster his authorship, Jonson in “The Forest,” a collection of poems where “To Penshurst” originally appeared, carefully selects the patrons to be praised and presents himself as having been in mutual, not one-sided, relationship with his patrons. On the other hand, Lanyer takes fully advantage of religious discourse and devotional lyrics traditionally more open to women, thereby successfully turning her poems, penned by a plain woman like herself, into the glorious examples of God’s grace and love.
참고문헌 (14)
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