가면으로서의 남성성--『율리시즈 』에서 블룸의 경우
Masculinity as a Mask: in case of Bloom
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Abstract
Lacan has suggested that both masculinity and femininity are forms of masquerade. For him, sexual identity is shifting and uncertain, but ideological world conceals this from the conscious subject who is supposed to feel whole. Drawing on Lacan's theory, this article examines how the masculinity of the Irish males is fictional and how the sexual identity of Bloom as a Jew is significant in the cultural context. For Joyce, the masculinity in late-nineteenth-and early-twentieth-century Ireland is a constructed ideology. Nationalist movements of that period in Ireland adopts the masculinist ideology and the Irish equates maleness with nationhood. The masculine self is frequently defined in the text against a feminized, Semitic Other. To combat perceptions of themselves as racially inferior, the Irish requires their own racialized Other against which they could measure their manhood, and in Ulysses it appears they have located it in Bloom, the Irish Jew. Various Dublin men gauge their own manhood against the racial and feminine Other that Bloom comes to embody. However, their posture of having the "phallus" turns out to be a lie, as evidenced by the Citizen. In short, Joyce de-essentializes the notion of masculinity in general by divulging its changing and constructed nature.
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