Masquerade and Femininity: A Lacanian Reading of Daniel Defoe’s Roxana
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This paper aims to interpret the meaning of the masquerade in Roxana in terms of Lacanian philosophy, which allows us to see the masquerade as Roxana’s means to achieve her feminine identity in the symbolic order/society. Roxana’s multiple names reveal her unstable position in the phallic society, and her rejection of the (non-) identities imposed by the society is inevitable because, as Lacan says, “woman does not exist” in the symbolic order, that is, she cannot be represented by the society. Therefore, Roxana is obliged to create her own identity which can represent her. It is the masquerade and role-playing which she chooses (strictly speaking, she is compelled to choose) as her means of creating her self, because masquerading is the only choice for her to survive in the male-oriented society without raising any fear or anxiety from men, that is, masquerading is her destiny. In this sense, masquerade, as Lacan argues, is the nature of her femininity, or rather the masquerade is Roxana herself.
Abstract
This paper aims to interpret the meaning of the masquerade in Roxana in terms of Lacanian philosophy, which allows us to see the masquerade as Roxana’s means to achieve her feminine identity in the symbolic order/society. Roxana’s multiple names reveal her unstable position in the phallic society, and her rejection of the (non-) identities imposed by the society is inevitable because, as Lacan says, “woman does not exist” in the symbolic order, that is, she cannot be represented by the society. Therefore, Roxana is obliged to create her own identity which can represent her. It is the masquerade and role-playing which she chooses (strictly speaking, she is compelled to choose) as her means of creating her self, because masquerading is the only choice for her to survive in the male-oriented society without raising any fear or anxiety from men, that is, masquerading is her destiny. In this sense, masquerade, as Lacan argues, is the nature of her femininity, or rather the masquerade is Roxana herself.
참고문헌 (20)
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