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『그 지방의 관습』: 언딘 스프라그의 이름과 상품으로서 예술적 이미지

The Custom of the Country: The Name of Undine Spragg and Artistic Images as Commodities

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한국근대영미소설학회 (The Korean Society of British and American Fiction)|2021.12|근대영미소설 (British and American Fiction)|제28권 제3호|pp. 77-106

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참고문헌

키워드

commodities상품consumer capitalismEdith Wharton『그 지방의 관습』이디스 워턴물의 요정예술적 이미지들사이렌소비 자본주의The Custom of the Countrywater nymphartistic imagessiren
주제분류영어와문학

초록

This paper explores how the two origins of Undine Spragg’s name and artistic images are interrelated and influence men’s perceptions of her. Ralph Marvell paints Undine as a soulless water nymph, undine, and considers himself tasked with recreating her as his poetic muse and wife by filling her soul with his family traditions. Raymond De Chelles identifies Undine with the tapestry fixed in his castle gallery, hoping her to become the means of reproduction. Another origin of Undine’s name is the name of a hair waver on sale. Once Ralph and Raymond exchange their status for commodity capital by marrying Undine, they seek to erase traces of vulgarity from her and expect her to become a passive and self-sacrificing wife and mother. Since the American marriage custom is predicated upon the economic dependency of women on men, Undine divorces her husbands who fail to fulfill her material desires and seeks a new husband. Elmer Moffatt values Undine not only as one of the finest French works of art that he purchases for speculative purposes, but also as a trophy for his success. As opposed to Ralph and Raymond, Undine and Elmer are independent of prejudices and taboos and become symbols of consumer capitalism. Contrary to Ralph’s imagination, Undine is not a water fairy who depends on male love, but an independent siren who wants to control her own destiny.

Abstract

This paper explores how the two origins of Undine Spragg’s name and artistic images are interrelated and influence men’s perceptions of her. Ralph Marvell paints Undine as a soulless water nymph, undine, and considers himself tasked with recreating her as his poetic muse and wife by filling her soul with his family traditions. Raymond De Chelles identifies Undine with the tapestry fixed in his castle gallery, hoping her to become the means of reproduction. Another origin of Undine’s name is the name of a hair waver on sale. Once Ralph and Raymond exchange their status for commodity capital by marrying Undine, they seek to erase traces of vulgarity from her and expect her to become a passive and self-sacrificing wife and mother. Since the American marriage custom is predicated upon the economic dependency of women on men, Undine divorces her husbands who fail to fulfill her material desires and seeks a new husband. Elmer Moffatt values Undine not only as one of the finest French works of art that he purchases for speculative purposes, but also as a trophy for his success. As opposed to Ralph and Raymond, Undine and Elmer are independent of prejudices and taboos and become symbols of consumer capitalism. Contrary to Ralph’s imagination, Undine is not a water fairy who depends on male love, but an independent siren who wants to control her own destiny.

참고문헌 (29)

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관련 논문AI추천

『그 지방의 관습』에서 ‘진짜’와 예술과 몸의 상품화손영희한국현대영미소설학회 · 현대영미소설2018 · 제25권 제2호<그 지방의 관습>에 나타나는 언딘 스프라그의 욕망의 실체손무연, 손정희여성학연구소 · 젠더와 문화2018 · 제11권 제1호대중출판문화와 이디스 워턴:『그 지방의 관습』을 중심으로정혜옥한국영미문화학회 · 영미문화2013 · 제13권 제3호「뮤즈의 비극」과 『그 지방의 관습』에서 낭만적 뮤즈와 문학 생산손영희대한영어영문학회 · 영어영문학연구2023 · 제65권 제1호도시화와 소비하는 여성: 이디스 워튼의 『여름』을 중심으로손정희한국현대영미소설학회 · 현대영미소설2013 · 제20권 제3호미적 가치와 여성성의 교착: 피그말리온 신화를 넘어윤조원미국소설학회 · 미국소설2010 · 제17권 제3호

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