『헨리 4세』에 나타난 판타지와 유령: 라깡과 지젝 이론을 중심으로

Abstract

This essay aims at analyzing the mechanism where the ideology of the ruling class such as Tutor Myth and the order of hierarchy works in the unconsciousness of the subjects such as Hall and Falstaff, the main characters in 『Henry Ⅳ, Part 1 & Part 2 』 by applying the theories of Lacan and Žižek, especially 'the Symbolic' and 'the Real' and 'fantasy' and 'spectre', the main concepts of Lacan and Žižek's theories to their discourses. According to the theories of Lacan and Žižek applied to Hall's discourse, it shows that he desires to achieve the ideal kingship by making the most of betray, trick, and theatricality regarded as Machiavellian nature. Hall's Machiavellian action reveals that he only tries to achieve a legitimate kingship by sacrificing all the relations with his father and his friend, Falstaff, which means that the dominant ideology suppresses his unconscious desire by making it oedipal and serves as a mechanism which constructs 'Fantasy' making Hall have the purpose of pursuing the legitimate kingship presented by Tudor Myth, 'the Symbolic Order', be interpellated as a subject in the Elizabethan time successively, and learn to desire in the way that Tudor Myth indicates how to desire. On the contrary, Falstaff regarded as a marginalized and excluded lawbreaker by historicists critics can be read as a figure which subverts the dominant discourse and performs traversing the 'Fantasy' by expressing his own subversive and destructive discourse on the key concepts of the values and principles of the dominant ideology in the Elizabethan era. He performs the ethics of 'the Real', forming 'Spectre' which interrupts the perfectiveness of the Symbolic Order and results in giving subjects the opportunity to go beyond the alienation and achieve the separation from the desire of the Other according to Lacan and Žižek's theories.