라캉의 욕망 이론으로 하디의 『이름 없는 주드』 읽기—상징계에 도전을 중심으로
Reading Thomas Hardy’s Jude the Obscure through Lacanian Theory—Focusing on the Attempts to Combat the Symbolic Order
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This paper aims to analyze Thomas Hardy’s Jude the Obscure (1895) from the perspective of Jacques Lacan’s desire theory. In the Lacanian arena, the Imaginary-Symbolic-Real forms a trio of intrapsychic realms. Both Jude Fawley and Sue Bridehead are driven by “anti-social fantasies” that are closer to the Imaginary Order (the ideal psychic realm); they question and challenge the Symbolic Order (the realm of Law), meaning a dominant ideology such as class discrimination, Christianity and the codification of marriage. Jude recognises Christminster and Sue as unattainable phantoms (objet a) and pursues them. Sue also questions the Hebraism represented by Miss Fontover. This is demonstrated by Sue’s act of collecting plaster statuettes of Venus and Apollo symbolizing Hellenism, namely her pagan idolatry. Jude and Sue defy the status quo and pursue an objet a. While Jude is punished for his “unsanctioned ambitions”, Sue gradually becomes passive for fear of “divine retribution” shortly after the suicide and murder of Little Father Time. Sue finally surrenders to the Symbolic Order. Noticeably, Jude pursues his desire to the point of destruction (the death drive leading to jouissance) and arguably becomes an ethical subject.
Abstract
This paper aims to analyze Thomas Hardy’s Jude the Obscure (1895) from the perspective of Jacques Lacan’s desire theory. In the Lacanian arena, the Imaginary-Symbolic-Real forms a trio of intrapsychic realms. Both Jude Fawley and Sue Bridehead are driven by “anti-social fantasies” that are closer to the Imaginary Order (the ideal psychic realm); they question and challenge the Symbolic Order (the realm of Law), meaning a dominant ideology such as class discrimination, Christianity and the codification of marriage. Jude recognises Christminster and Sue as unattainable phantoms (objet a) and pursues them. Sue also questions the Hebraism represented by Miss Fontover. This is demonstrated by Sue’s act of collecting plaster statuettes of Venus and Apollo symbolizing Hellenism, namely her pagan idolatry. Jude and Sue defy the status quo and pursue an objet a. While Jude is punished for his “unsanctioned ambitions”, Sue gradually becomes passive for fear of “divine retribution” shortly after the suicide and murder of Little Father Time. Sue finally surrenders to the Symbolic Order. Noticeably, Jude pursues his desire to the point of destruction (the death drive leading to jouissance) and arguably becomes an ethical subject.
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