『뱀파이어』와 『드라큘라 』에서 성적 금지와 부르주아 성인에의 입문
Sexual Inhibitions and Initiation into the Bourgeois Manhood in The Vampyre and Dracula
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In Polidori’s The Vampyre and Stoker’s Dracula, aristocratic vampires have a close relationship with bourgeois men, but they vamp the women closely related to them, not the men themselves. Since these women act as substitutes for the bourgeois men, vampirism represents an indirect sexual attack against the men under the disguise of heterosexual desires which displace their homosexual desires. In both works, the vampires liberate repressed sexual desires, bringing about the potential disintegration of the bourgeois dichotomy of gender and sexuality. In The Vampyre, Aubrey keeps his vow not to disclose Ruthven’s secret, which actually turns out to be his own secret of homosexual desires. In consequence, he is destroyed and fails to initiate into the bourgeois manhood. In Dracula, however, Mina breaks her vow not to read Harker’s journals and learns of his deviant sexuality, thereby inviting Dracula. The crisis of her awakening to the repressed sexual desires triggers vampire hunters’ frantic pursuit of Dracula. With the destruction of Dracula, the bourgeois gender and sexual norms seem to be restored and reaffirmed. However, Mina becomes marginalized and inarticulate while Harker proves his masculinity, initiates into manhood as a successful lawyer, and becomes a disciplined modern bourgeois subject that can control his own sexual desires. As Quincey Harker was fathered by Dracula as well as by Lucy’s three suitors, Van Helsing, and Harker, Dracula is resurrected through the boy and once again threatens to wipe out the bourgeois dichotomy of gender and sexuality.
Abstract
In Polidori’s The Vampyre and Stoker’s Dracula, aristocratic vampires have a close relationship with bourgeois men, but they vamp the women closely related to them, not the men themselves. Since these women act as substitutes for the bourgeois men, vampirism represents an indirect sexual attack against the men under the disguise of heterosexual desires which displace their homosexual desires. In both works, the vampires liberate repressed sexual desires, bringing about the potential disintegration of the bourgeois dichotomy of gender and sexuality. In The Vampyre, Aubrey keeps his vow not to disclose Ruthven’s secret, which actually turns out to be his own secret of homosexual desires. In consequence, he is destroyed and fails to initiate into the bourgeois manhood. In Dracula, however, Mina breaks her vow not to read Harker’s journals and learns of his deviant sexuality, thereby inviting Dracula. The crisis of her awakening to the repressed sexual desires triggers vampire hunters’ frantic pursuit of Dracula. With the destruction of Dracula, the bourgeois gender and sexual norms seem to be restored and reaffirmed. However, Mina becomes marginalized and inarticulate while Harker proves his masculinity, initiates into manhood as a successful lawyer, and becomes a disciplined modern bourgeois subject that can control his own sexual desires. As Quincey Harker was fathered by Dracula as well as by Lucy’s three suitors, Van Helsing, and Harker, Dracula is resurrected through the boy and once again threatens to wipe out the bourgeois dichotomy of gender and sexuality.
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