조이스와 맨스필드의 결혼 플롯 고찰: 「죽은 사람들」과 「낯선 사람」을 중심으로
A Comparative Study of the Marriage Plots in Joyce’s “The Dead” and Mansfield’s “The Stranger”
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Reading James Joyce's "The Dead" and Katherine Mansfield's "The Stranger" side by side, this paper aims at investigating the two writers' meaningful rewriting of a traditional marriage plot. Although the male voice is dominant in "The Stranger" as well as in "The Dead" as protagonists and narrators, revealing their egotism, possessiveness, and desire for power hidden under the surface of their proffered generosity and love toward their spouses, both writers also expose the male characters' anxiety about female empowerment, along with their insecurity about their egos and masculinity. Female voices are slowly uncovered and pervaded, especially the latter part of each text, and deliver their challenges to a phallogocentric binary oppositional structure innate in the system of traditional marriage. A third man, invoked in rhythmic and sensual language of feminine narratives, disrupts a masculine plot. By destabilizing a self-sufficient construction of the husband-wife pair, but not evoking a banal adulterous relationship, both writers call for an Irigarayan ethics of love founded upon a certain distance between male and female. Despite their feminist slant that advocates an Irigarayan sexual difference, Joyce's and Mansfield's ways of unfolding the theme are somewhat dissimilar. "The Stranger," ending with discordant voices, accentuates an unbridgeable gap between husband and wife, ironically in the couple's deceptive embrace. Conversely, "The Dead" finishes with Gabriel's philosophical meditation, although an optimistic prospect of the balanced unity between husband and wife is hinted in Gabriel's voice and is symbolized, paradoxically enough, by Gabriel's sleeping separate from his wife. Joyce's Gabriel retains a final word, whereas Mansfield's Janey reserves a stronger voice. By providing a liaison between Joyce's masterly-renowned text and Mansfield's often-belittled one, we mark them together in the context of the early British modernism and feminism, and await more fertile criticisms that bridge male and female writers.
Abstract
Reading James Joyce's "The Dead" and Katherine Mansfield's "The Stranger" side by side, this paper aims at investigating the two writers' meaningful rewriting of a traditional marriage plot. Although the male voice is dominant in "The Stranger" as well as in "The Dead" as protagonists and narrators, revealing their egotism, possessiveness, and desire for power hidden under the surface of their proffered generosity and love toward their spouses, both writers also expose the male characters' anxiety about female empowerment, along with their insecurity about their egos and masculinity. Female voices are slowly uncovered and pervaded, especially the latter part of each text, and deliver their challenges to a phallogocentric binary oppositional structure innate in the system of traditional marriage. A third man, invoked in rhythmic and sensual language of feminine narratives, disrupts a masculine plot. By destabilizing a self-sufficient construction of the husband-wife pair, but not evoking a banal adulterous relationship, both writers call for an Irigarayan ethics of love founded upon a certain distance between male and female. Despite their feminist slant that advocates an Irigarayan sexual difference, Joyce's and Mansfield's ways of unfolding the theme are somewhat dissimilar. "The Stranger," ending with discordant voices, accentuates an unbridgeable gap between husband and wife, ironically in the couple's deceptive embrace. Conversely, "The Dead" finishes with Gabriel's philosophical meditation, although an optimistic prospect of the balanced unity between husband and wife is hinted in Gabriel's voice and is symbolized, paradoxically enough, by Gabriel's sleeping separate from his wife. Joyce's Gabriel retains a final word, whereas Mansfield's Janey reserves a stronger voice. By providing a liaison between Joyce's masterly-renowned text and Mansfield's often-belittled one, we mark them together in the context of the early British modernism and feminism, and await more fertile criticisms that bridge male and female writers.
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