헨리 라이더 해거드의 『그녀: 감행의 연대기』와 고딕(성)
(The) Gothic/Gothicism in Henry Rider Haggard’s She: A History of Adventure
2
조회
0
다운로드
0
인용
0
참고문헌
키워드
초록
Henry Rider Haggard’s She: A History of Adventure has been given two extremes of opinions from critics, but it is obvious that his work must have profound meanings and possibilities. My aim in this paper is to focus on the gothic/gothicism achieved through female gothic, cyclical violence and excess in She. Haggard’s queer imagination in exotic Africa not in England is encouraged in this text. Ayesha’s sex or gender is twofold and vague like her veil, it is not easy to define her true nature as a three-layer mixture composing the realm of human consciousness. Her sex or gender is not one but between female and male, giving too much prominence to sadism and masochism. In addition, Ustein, Holy, Leo and Ayesha’s loves seem excessive. A ruler of a far foreign land, fearful and manly and at the same time womanly Ayesha and Ustein’s love toward Leo causes a cyclical violence. As soon as she enters flame secondly, she transforms herself into an ape instantaneously at the ending. The most radical excess in this work reaches its peak, which awakens humans’ horrors and hidden desires with a flexible feminine. A cyclical violence can make past re-established between sadism and masochism. Her modification shows not only the desires for transcendence beyond body or narrative, or virtuality, but also the advent of the transformed past. Therefore, the very extinction shouldn’t be read as feminine’s failure against masculine hegemony because she could return in a cold but beautiful form. She shows the characteristics of female gothic along with subjective imagination as tools of reality interpretation instead of reason, as female gothic seeks to examine females’ sexuality, gender hierachy, and preternaturalness and so on, meeting polyhybrid epistemology of the 21st century. As female gothic through She implies a correction of reality, not an escape from reality, gothic seems newer and more proper at this time and is reflected in the emotional trajectory of the violence, eroticism and sentimental excess between feminism and postmodernism.
Abstract
Henry Rider Haggard’s She: A History of Adventure has been given two extremes of opinions from critics, but it is obvious that his work must have profound meanings and possibilities. My aim in this paper is to focus on the gothic/gothicism achieved through female gothic, cyclical violence and excess in She. Haggard’s queer imagination in exotic Africa not in England is encouraged in this text. Ayesha’s sex or gender is twofold and vague like her veil, it is not easy to define her true nature as a three-layer mixture composing the realm of human consciousness. Her sex or gender is not one but between female and male, giving too much prominence to sadism and masochism. In addition, Ustein, Holy, Leo and Ayesha’s loves seem excessive. A ruler of a far foreign land, fearful and manly and at the same time womanly Ayesha and Ustein’s love toward Leo causes a cyclical violence. As soon as she enters flame secondly, she transforms herself into an ape instantaneously at the ending. The most radical excess in this work reaches its peak, which awakens humans’ horrors and hidden desires with a flexible feminine. A cyclical violence can make past re-established between sadism and masochism. Her modification shows not only the desires for transcendence beyond body or narrative, or virtuality, but also the advent of the transformed past. Therefore, the very extinction shouldn’t be read as feminine’s failure against masculine hegemony because she could return in a cold but beautiful form. She shows the characteristics of female gothic along with subjective imagination as tools of reality interpretation instead of reason, as female gothic seeks to examine females’ sexuality, gender hierachy, and preternaturalness and so on, meeting polyhybrid epistemology of the 21st century. As female gothic through She implies a correction of reality, not an escape from reality, gothic seems newer and more proper at this time and is reflected in the emotional trajectory of the violence, eroticism and sentimental excess between feminism and postmodernism.
참고문헌 (34)
- 버틀러, 주디스, "페미니즘과 정체성의 전복" (2008), 문학동네
- 임옥희, "젠더의 조롱과 우울의 철학:주디스 버틀러 읽기" (2006), 여이연
- Atwood, Margaret. Preface, "She: A History of Adventure", pp.xvi~xxiv (1994), Signet
- Atwood, Margaret. Preface, "Survival: A Thematic Guide to Canadian Literature" (1972), M & S
- Auerbach, Nina, "Woman and the Demon: The Life of a Victorian Myth" (1982), Harvard UP
- Baudrillard, Jean, "Seduction" (1990), Macmillan Education
- Becker, Susanne, "Gothic Forms of Feminine Fictions" (1999), Manchester UP
- Botting, Fred, "Gothic" (1996), Routledge
- Brantlinger, Patrick, "Rule of Darkness: British Literature and Imperialism, 1830-1914" (1988), Cornell UP
- Busse, Kristina, "Crossing the Final Taboo: Family Sexuality, and Incest in Buffyverse Fan Fiction, In Frighting the Forces: What’s at Stake in Buffy the Vampire Slayer", pp.207~217 (2002), Rowman & Littlefield
- de Lauretis, Teresa, "The Practice of Love: Lesbian Sexuality and Perverse Desire" (1994), Indiana UP
- Derrida, Jacques, "Of Grammatology" (1997), Johns Hopkins UP
- Dryden, Linda, "She: Gothic Reverberations in Star Trek: First Contact.”, In Postfeminist Gothic: Critical Interventions in Contemporary Culture", pp.154~169 (2007), Palgrave Macmillan
- Easthope, Antony, "Literary into Cultural Studies" (1991), Routledge
- Eliot, T. S, "Selected Essays" (1961), Faber
- Elizabeth Bronfen, "Over Her Dead Body: Death, Femininity and the Aesthetic" (1992), Manchester UP
- Etherington, Norman A, "Rider Haggard, Imperialism, and the Layered Personality", Victorian Studies, 22(1), pp.71~87 (1978)
- Felski, Rita, "The Gender of Modernity" (1995), Harvard UP
- Frye, Northrop, "The Secular Scripture: A Study of the Structure of Romance" (1976), Harvard UP
- Genz, Stephanie, "(Re)Making the Body Beautiful: Postfeminist Cinderellas and Gothic Tales of Transformation, In Postfeminist Gothic: Critical Interventions in Contemporary Culture", pp.68~84 (2007), Palgrave Macmillan
- Gilbert, Sandra, "Sexchanges. Vol. 2. of No Man’s Land: ThePlace of the Woman Writer in the Twentieth Century. 3 Vols" (1989), Yale UP
- Greene, Graham, "Journey Without Maps" (1981), Penguin
- Haggard, H. Rider, "About Fiction", Contemporary Review, 2, pp.172~180 (1887)
- Haggard, H. Rider, "She: A History of Adventure. 1887" (1994), Signet
- Kearney,Richard, "Strangers, Gods, and Monsters: Interpreting Otherness" (2003), Routledge
- Keft-Kennedy, Virginia, "Fantasizing Masculinity in Buffyverse Slash Fiction: Sexuality, Violence, and the Vampire", Nordic Journal of English Studies, 7(1), pp.48~81 (2008)
- Law, Jules, "Being There: Gothic Violence and Virtuality in Frankenstein, Dracula, and Strange Days", ELH, 73, pp.975~996 (2006)
- Malley, Shawn, "Time Hath No Power against Identity: Historical Continuity and Archaeological Adventure in H. Rider Haggard’s She", English Literature in Transition, 40(3), pp.275~297 (1997)
- Millett, Kate, "Sexual Politics" (1978), Ballantine
- Murphy, Patricia, "The Gendering of History in She", Studies in EnglishLiterature 1500-1900, 39, pp.747~772 (1999)
- Neale, Steve, "Masculinity as Spectacle: Reflections on Men and MainstreamCinema", Screen, 24(6), pp.2~16 (1983)
- Shannon, Young, "She: Rider Haggard’s Queer Adventures", eteenth CenturyLiterature in English, 10(1), pp.245~266 (2006)
- Stott, Rebecca, "The Fabrication of the Late-Victorian Femme Fatale: The Kissof Death" (1992), Macmillan
- Todorov, Tzvetan, "The Fantastic: A Structural Approach to a Literary Genre" (1975), Cornell UP