『레베카』에 나타난 라캉적 여성성과 양가적 여성적 구조로서의 가장(무도회)
Lacanian Femininity and Masquerade as the Ambivalent Feminine Structure in Du Maurier’s Rebecca
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Main criticisms of Rebecca have regarded the novel as its narrator’s bildungsroman or a romance in which its protagonist achieves a symbolical triumph over Rebecca, Maxim’s wicked former wife. The novel, however, is about Rebecca as well as the anonymous narrator, who embodies Lacanian femininity. To have identity, according to Lacan, one should enter the symbolic which disallows parts of one’s desires. In entering the symbolic, a man entirely submits to the symbolic, but a woman resists entire subjugation, pursing some desires forbidden by the symbolic. Rebecca marries Maxim de Winter to be a symbolic subject as de Winter. But, not wholly satisfied with the phallic jouissance, Rebecca pursues Other jouissance, thus revealing Lacanian femininity characterized by its ambivalent feminine structure. The anonymous narrator also realizes Lacanian femininity. She marries Maxim de Winter to have a name/identity as de Winter, and tries to conceal Maxim’s murder to protect her name as de Winter. The narrator, however, also has the unconscious desire for Other jouissance, as suggested by her unconscious identification with Rebecca. The Lacanian femininity manifests itself as masquerade, which annually takes place in Manderley. While Rebecca, in the masquerade, reveals the femininity as the masquerade by masquerading herself as Caroline de Winter, the narrator realizes Lacanian femininity by unconsciously transforming herself into Rebecca.
Abstract
Main criticisms of Rebecca have regarded the novel as its narrator’s bildungsroman or a romance in which its protagonist achieves a symbolical triumph over Rebecca, Maxim’s wicked former wife. The novel, however, is about Rebecca as well as the anonymous narrator, who embodies Lacanian femininity. To have identity, according to Lacan, one should enter the symbolic which disallows parts of one’s desires. In entering the symbolic, a man entirely submits to the symbolic, but a woman resists entire subjugation, pursing some desires forbidden by the symbolic. Rebecca marries Maxim de Winter to be a symbolic subject as de Winter. But, not wholly satisfied with the phallic jouissance, Rebecca pursues Other jouissance, thus revealing Lacanian femininity characterized by its ambivalent feminine structure. The anonymous narrator also realizes Lacanian femininity. She marries Maxim de Winter to have a name/identity as de Winter, and tries to conceal Maxim’s murder to protect her name as de Winter. The narrator, however, also has the unconscious desire for Other jouissance, as suggested by her unconscious identification with Rebecca. The Lacanian femininity manifests itself as masquerade, which annually takes place in Manderley. While Rebecca, in the masquerade, reveals the femininity as the masquerade by masquerading herself as Caroline de Winter, the narrator realizes Lacanian femininity by unconsciously transforming herself into Rebecca.
참고문헌 (23)
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