『레베카』에 나타난 금지된 지식/실재의 귀환과 가부장제의 비밀
Return of the Forbidden Knowledge/the Real and the Secret of the Patriarchal Society in Rebecca
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Most critics of Rebecca find in the novel the oppression of women by the patriarchal society, paying attention to the narrator’s acquisition of knowledge concerning the adult female sexuality or the mystery of Manderley and Maxim its master. These two elements of the novel are closely connected with each other, and can be examined in terms of Lacanian symbolic order and the real, since the real “oppressed” by the symbolic order (like the women oppressed by the patriarchal society) reveals the mystery/“secret” of the symbolic order which can maintain itself only by its “oppression” of the real. Manderley in this novel is a symbol of the patriarchal system as well as Lacanian symbolic order, while Maxim its master is its advocate. Adult female sexuality/the Lacanian real embodied in Rebecca, however, is so threatening to the patriarchal system/the symbolic order that Maxim kills Rebecca, thus revealing the “secret”/limitation of the symbolic order whose existence depends upon the oppression of the real. Consequently, Maxim would not give the narrator any access to the secret, the “forbidden knowledge” about the female sexuality/the real. The real banished/oppressed by the symbolic order, however, always returns to its place like the “spat-out chewing gum in the street”. Likewise, Rebecca, Lacanian real, returns in various forms: Rebecca returns in the shape of the narrator who puts on Rebecca’s costume in a masquerade, and literally returns as a corpse in her boat “Je Reviens”. The final and irrevocable return is accomplished by the narrator herself whose identity is completely merged with that of Rebecca in her dream.
Abstract
Most critics of Rebecca find in the novel the oppression of women by the patriarchal society, paying attention to the narrator’s acquisition of knowledge concerning the adult female sexuality or the mystery of Manderley and Maxim its master. These two elements of the novel are closely connected with each other, and can be examined in terms of Lacanian symbolic order and the real, since the real “oppressed” by the symbolic order (like the women oppressed by the patriarchal society) reveals the mystery/“secret” of the symbolic order which can maintain itself only by its “oppression” of the real. Manderley in this novel is a symbol of the patriarchal system as well as Lacanian symbolic order, while Maxim its master is its advocate. Adult female sexuality/the Lacanian real embodied in Rebecca, however, is so threatening to the patriarchal system/the symbolic order that Maxim kills Rebecca, thus revealing the “secret”/limitation of the symbolic order whose existence depends upon the oppression of the real. Consequently, Maxim would not give the narrator any access to the secret, the “forbidden knowledge” about the female sexuality/the real. The real banished/oppressed by the symbolic order, however, always returns to its place like the “spat-out chewing gum in the street”. Likewise, Rebecca, Lacanian real, returns in various forms: Rebecca returns in the shape of the narrator who puts on Rebecca’s costume in a masquerade, and literally returns as a corpse in her boat “Je Reviens”. The final and irrevocable return is accomplished by the narrator herself whose identity is completely merged with that of Rebecca in her dream.
참고문헌 (18)
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