성과 제국 -『무지개』에 그려진 ‘제국 인종’의 내면
Sexuality and Empire: The Interior of an ‘Imperial Race’ in The Rainbow
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Though not the primary focus of the narrative, the British Empire appears in D. H. Lawrence’s The Rainbow as an integral part of the meaningful world of its third generation characters. For Skrebensky, the Empire is the ultimate horizon in which his social and emotional life is experienced. At moments of masculinity crisis, caused by critical consciousness and self-indulgently powerful sexuality on the female part, he turns desperately to the Empire to recoup his personal male authority. Ursula’s case is much more complicated. Her deeply individualized self, informed by a rich sense of being, maintains a critical stance toward Skrebensky’s commitment to the nation and its imperialist war. Yet her will to freedom and social independence frequently acts to enhance her sentimental attraction to ‘the outer world’ of which her colonialist lover is a close representative. Thus her sexual thrill at his voicing of ‘sensual darkness’ in Africa registers a multi-layered psychic process within her. It is, on one level, an enactment of her usual yearning for the wider world, but on another, a prepared response to his ‘dark’ being—the preparation being intimated by a preceding discourse on ontological darkness. There is accordingly a double continuance in the narrative language: between the discourse of African darkness and that of dark being, and between two variants of the latter. Such a continuance may as easily suggest Lawrence’s ideological vulnerability as his characters’. Yet in a broader context, it suggests a complicated psychic drama in which Lawrence and his heroine adopt the colonial discourse only to transmute it radically into their own, post-Enlightenment and anti-colonial discourse of being.
Abstract
Though not the primary focus of the narrative, the British Empire appears in D. H. Lawrence’s The Rainbow as an integral part of the meaningful world of its third generation characters. For Skrebensky, the Empire is the ultimate horizon in which his social and emotional life is experienced. At moments of masculinity crisis, caused by critical consciousness and self-indulgently powerful sexuality on the female part, he turns desperately to the Empire to recoup his personal male authority. Ursula’s case is much more complicated. Her deeply individualized self, informed by a rich sense of being, maintains a critical stance toward Skrebensky’s commitment to the nation and its imperialist war. Yet her will to freedom and social independence frequently acts to enhance her sentimental attraction to ‘the outer world’ of which her colonialist lover is a close representative. Thus her sexual thrill at his voicing of ‘sensual darkness’ in Africa registers a multi-layered psychic process within her. It is, on one level, an enactment of her usual yearning for the wider world, but on another, a prepared response to his ‘dark’ being—the preparation being intimated by a preceding discourse on ontological darkness. There is accordingly a double continuance in the narrative language: between the discourse of African darkness and that of dark being, and between two variants of the latter. Such a continuance may as easily suggest Lawrence’s ideological vulnerability as his characters’. Yet in a broader context, it suggests a complicated psychic drama in which Lawrence and his heroine adopt the colonial discourse only to transmute it radically into their own, post-Enlightenment and anti-colonial discourse of being.
참고문헌 (17)
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