Queering Madness in Sarah Waters’s Fingersmith
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In Park Chan-Wook’s 2016 film The Handmaiden, the most dramatic turn of events comes as the main characters swap identities at the moment of incarceration in an insane asylum. The source text for Park’s film, Sarah Waters’s 2002 novel Fingersmith, is indebted to Victorian literature in its depiction of women’s madness as a socially constructed category that prevents certain women from full civic participation. Fingersmith portrays a world in which women are confined to insane asylums in entirely arbitrary ways, and in which madness spills over beyond those asylums into the home itself. I also consider the ways in which madness is queered at the level of language as well as plot through examining Waters’s use of the word “queer.” In particular, Waters follows a logic under which Sue’s lesbianism serves as evidence of her insanity and becomes sufficient grounds for incarceration. In the wake of Park’s film adaptation, in this essay I return to Fingersmith to mark how women’s madness is a malleable category subject to false diagnosis, familial abuse, and self-ascription. I will also explore the ways in which madness is queered within Waters’s self-described world of “lesbo Victorian romp.”
Abstract
In Park Chan-Wook’s 2016 film The Handmaiden, the most dramatic turn of events comes as the main characters swap identities at the moment of incarceration in an insane asylum. The source text for Park’s film, Sarah Waters’s 2002 novel Fingersmith, is indebted to Victorian literature in its depiction of women’s madness as a socially constructed category that prevents certain women from full civic participation. Fingersmith portrays a world in which women are confined to insane asylums in entirely arbitrary ways, and in which madness spills over beyond those asylums into the home itself. I also consider the ways in which madness is queered at the level of language as well as plot through examining Waters’s use of the word “queer.” In particular, Waters follows a logic under which Sue’s lesbianism serves as evidence of her insanity and becomes sufficient grounds for incarceration. In the wake of Park’s film adaptation, in this essay I return to Fingersmith to mark how women’s madness is a malleable category subject to false diagnosis, familial abuse, and self-ascription. I will also explore the ways in which madness is queered within Waters’s self-described world of “lesbo Victorian romp.”
참고문헌 (20)
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