『살로메』를 통해 본 성과 권력
Gender and Power through Salome.
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The purpose of this paper is to study Salome’s sexual desire, and her challenge against Iokanaan’s words which symbolize male power. Jacques Lacan explains the birth of the subject by using the three order: the imagery, the symbolic and the real. According to Lacan, becoming the subject is a process of overcoming Oedipus Complex by accepting his father’s name and symbolic castration. Oscar Wilde describes Salome as a very attractive subject for expressing duality of aestheticism. In Salome, Wilde not only highlights the conflict between Salome and Iokanaan but embodies the superiority of Wilde’s aesthetics to the religious world from the point of view of power game. Salome experiences ‘the mirror stage’ in that she can’t percept the object as a human or subject who has personality and subjectivity. Salome who represents Wilde’s aesthetic world is fascinated by Iokanaan’s face which involves ugliness and beauty. Wilde’s dual-sided ideas about art—beauty or ugliness, and good or evil—are always inter-dependent. The Christian world rejects good and evil, that is, there is only one side which involves good. From this point of view, in Salome, the conflict between Salome’s artistic world and Iokanaan’s religious world is very natural. After Iokanaan’s beheading which symbolizes Salome’s castration, the trouble between the artistic world and the religious world is temporarily resolved, concluding with the victory of Wilde’s aesthetics over Christianity.
Abstract
The purpose of this paper is to study Salome’s sexual desire, and her challenge against Iokanaan’s words which symbolize male power. Jacques Lacan explains the birth of the subject by using the three order: the imagery, the symbolic and the real. According to Lacan, becoming the subject is a process of overcoming Oedipus Complex by accepting his father’s name and symbolic castration. Oscar Wilde describes Salome as a very attractive subject for expressing duality of aestheticism. In Salome, Wilde not only highlights the conflict between Salome and Iokanaan but embodies the superiority of Wilde’s aesthetics to the religious world from the point of view of power game. Salome experiences ‘the mirror stage’ in that she can’t percept the object as a human or subject who has personality and subjectivity. Salome who represents Wilde’s aesthetic world is fascinated by Iokanaan’s face which involves ugliness and beauty. Wilde’s dual-sided ideas about art—beauty or ugliness, and good or evil—are always inter-dependent. The Christian world rejects good and evil, that is, there is only one side which involves good. From this point of view, in Salome, the conflict between Salome’s artistic world and Iokanaan’s religious world is very natural. After Iokanaan’s beheading which symbolizes Salome’s castration, the trouble between the artistic world and the religious world is temporarily resolved, concluding with the victory of Wilde’s aesthetics over Christianity.
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