메리 로쓰의 유레이니어에 나타난 젠더와 권력
Gender and Power in Mary Wroth's Urania
0
조회
0
다운로드
0
인용
0
참고문헌
키워드
초록
This paper explores the relationship between gender and power in The Countess of Mountgomeries Urania by illuminating the way the central figure Pamphilia relates her femininity and her preeminent virtue of constancy to her queenship. As the power of love and the love of power impenetrate each other as the driving forces of the plot in Urania, and the issue of love involves gender relationship, the discussion of love, especially the constant but painful love of Pamphilia for Amphilanthus is necessarily contained in the process of examining the interrelationship between gender and power in this work. Mary Wroth portrays Pamphilia as the embodiment of constancy, the virtue which had not been traditionally associated with woman. She develops Pamphilia not only as a virtuous and constant woman in love but also as a queen who transcends her private love to commit herself to the public good. Constancy is a right and immovable strength of mind, neither elated nor depressed by external or chance events. It nourishes patience which makes one endure without complaint of all things that can happen to or in a person. Pamphilia continuously suffers from frustrations, sorrows, unhappiness and despair due to Amphilanthus's inconstancy. Constancy sustains Pamphilia all through her passionate and selfless love for Amphilanthus. Pamphilia's personal sufferings in love discipline her patience, fortitude, self-control, and autonomy, which in turn help her govern her kingdom as a successful prince like Elizabeth 1. Pamphilia's frequent withdrawals into a deep wood or a secret garden provide her with settings in which she confronts her passions for Amphilanthus and pour them out unnoticed. In these private spaces, she probes the darkest part of herself, and learns to embrace it as her own. Her ability to be alone like her constancy trains and improves the autonomy of her self, so that she can be maturely detached from the crowd and be her constant self even in company. She is esteemed to have a masculine spirit, judgment and courage, and yet Wroth does not make her a martial queen like Britomart. Instead Pamphilia actively exerts her feminine heroic virtues such as patience, humility, and particularly constancy in the public realm. Thus Pamphilia's private virtues in love are translated into her public principles, and constancy becomes the core in the nature of her queenliness as well as her femininity.
Abstract
This paper explores the relationship between gender and power in The Countess of Mountgomeries Urania by illuminating the way the central figure Pamphilia relates her femininity and her preeminent virtue of constancy to her queenship. As the power of love and the love of power impenetrate each other as the driving forces of the plot in Urania, and the issue of love involves gender relationship, the discussion of love, especially the constant but painful love of Pamphilia for Amphilanthus is necessarily contained in the process of examining the interrelationship between gender and power in this work. Mary Wroth portrays Pamphilia as the embodiment of constancy, the virtue which had not been traditionally associated with woman. She develops Pamphilia not only as a virtuous and constant woman in love but also as a queen who transcends her private love to commit herself to the public good. Constancy is a right and immovable strength of mind, neither elated nor depressed by external or chance events. It nourishes patience which makes one endure without complaint of all things that can happen to or in a person. Pamphilia continuously suffers from frustrations, sorrows, unhappiness and despair due to Amphilanthus's inconstancy. Constancy sustains Pamphilia all through her passionate and selfless love for Amphilanthus. Pamphilia's personal sufferings in love discipline her patience, fortitude, self-control, and autonomy, which in turn help her govern her kingdom as a successful prince like Elizabeth 1. Pamphilia's frequent withdrawals into a deep wood or a secret garden provide her with settings in which she confronts her passions for Amphilanthus and pour them out unnoticed. In these private spaces, she probes the darkest part of herself, and learns to embrace it as her own. Her ability to be alone like her constancy trains and improves the autonomy of her self, so that she can be maturely detached from the crowd and be her constant self even in company. She is esteemed to have a masculine spirit, judgment and courage, and yet Wroth does not make her a martial queen like Britomart. Instead Pamphilia actively exerts her feminine heroic virtues such as patience, humility, and particularly constancy in the public realm. Thus Pamphilia's private virtues in love are translated into her public principles, and constancy becomes the core in the nature of her queenliness as well as her femininity.
참고문헌 (35)
- "Pamphlia's Cabinet: Gendered Authorship and Empire in Lady Mary Wroth's Urania", 68, pp.335~358 (2001)
- "Women Writers of the English Renaissance. Princeton" (1987), Princeton UP
- "Winning ‘the harts of the people’: The Role of the Political Subject in the Urania", pp.1~17 (1999), Tempe, AZ: Arizona Center for Medieval and Renaissance Studies
- "Pamela Joseph. The Invention of the Renaissance Woman The Challenge of Female Independence in the Literature and Thought of Italy and England. University Park" (1992)
- "Showing Like a Queen: Female Authority and Literary Experiment in Spenser, Shakespeare, and Milton" (2000), Philadelphia: U of Penssylvania P
- "The Discourses of Sexual Difference in Early Modern Europe. Chicago U of Chicago P" (1986)
- "Mary Wroth and the Invention of Female Poetic Subjectivity. Representing Alternatives in Early Modern England. Eds. Miller U of Tennessee P" (1991)
- "From More to Shakespeare. Chicago U of Chicago P" (1980)
- "Lady Mary Wroth's Urania and the 'Femininity' of Romance." (1992)
- "Margaret Patterson ed. Silent But for the Word Tudor Women as Patrons and Writers of Religious Works. Kent" (1985)
- "eds. The Renaissance Englishwoman in Print U of Massachusetts P" (1990), Anne M. and Betty S. Travitsky
- "More on the Siena Portrait of Queen Elizabeth I. Anne M. and Betty S. Travitsky. The Renaissance Englishwoman in Print U of Massachusetts P" (1990)
- "Margaret L. Women of the Renaissance. Chicago U of Chicago P" (1991)
- "Women as Writers and Translators of Literature in the English Renaissance. London" (1992)
- "Women in the Middle Ages and the Renaissance. Detroit" (1987)
- "Barbara K. Writing Women in Jacobean England. Cambridge" (1993)
- "A Midsummer Night's Dream and the Shaping Fantasies of Elizabethan Culture The Discourse of Sexual Difference in Early Modern Europe. Chicago U of Chicago P" (1986)
- "Ian. The Renaissance Notion of Woman. Cambridge" (1980)
- "Lady Mary Wroth in the House of Busirane", pp.115~124 (2000), Lexington: Kentucky UP
- "Mirrours More Then One’: Edmund Spenser and Female Authority in the Seventeenth Century", pp.125~147 (2000), Louisville: UP of Kentucky
- "Mary ed. Women in English Society 1500-1800. London" (1985)
- "Instability and Authority in Wroth's Urania Poems. U of Chicago P" (1990)
- "Essays on Renaissance Romance. Eds. Logan", pp.257~80
- "Labyrinths of Desire Lady Mary Wroth's Reconstruction of Romance."
- "A Response to Jacobean Censorship.", pp.125~29 (1983)
- "―――. ed. The Poems of Lady Mary Wroth. Baton Rouge" (1983)
- "Perspectives on Women Rulers in Lady Mary Wroth's Urania. Renaissance Englishwoman in Print U of Massachusetts", pp.~207
- "Mary Beth ed. Women in the Middle Ages and the Renaissance Literary and Historical Perspectives. Syracuse" (1986)
- Constructions of Mary Wroth's Urania Arcadian Romance and the Public Realm, , 1997, 109~124, pp.Tempe. AZ: Medieval & Renaissance Texts & Studies
- "the Countess of Bedford" (1994)
- "Schochet. Gordon J. Patriarchism in Political thought The Authoritarian Family and Political Speculation and Attitudes Especially in Seventeenth-Century England. New York" (1975)
- "Feminine Identity in Lady Mary Wroth's Romance Urania.", pp.328~46 (1984)
- "Merry E. Women and Gender in Early Modern Europe. Cambridge" (1993)
- "Women and Literature in Britain", pp.1500~1700 (1996), Cambridge: Cambridge UP
- "The Discourses of Sexual Difference in Early Modern Europe. Eds. Ferguson U of Chicago P 1987. 123-42. Gender and Power in Mary Wroth's Urania"