여성 고딕 소설에 나타난 진실과 미덕의 문제: 『이태리인』, 『여성의 억울함』, 『노생거 사원』을 중심으로
The Questions of Truth and Virtue in the Female Gothic Novels: The Italian, The Wrongs of Woman, and Northanger Abbey
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This paper explores how three Gothic novels written by women writers in 1790s, The Italian, The Wrongs of Woman, and Northanger Abbey, navigate questions of truth and virtue, elaborated by Michael McKeon in his influential re-definition of the novel form. According to McKeon, the genre of the novel attempts to negotiate the double modern predicament of establishing new criteria for truth and virtue. As the analogy between questions of truth and virtue brings completion to the genre of the novel, the place of authority through genealogical inheritance was replaced by narratives of individual achievement of virtue. In each of the female Gothic novels that this paper discusses, free indirect discourse conveys the transparency of interior truth, and the female heroine's virtue is evinced in her sensibility throughout the novel and in her re-formation of the domestic sphere at the novel’s conclusion. Through investigating the three works in relation to McKeon's more recent study of the devolution and domestication of authority, this paper locates the female Gothic novel―often treated as an inferior, transient sub-genre outside the tradition of the realist novel―within a broader literary and historical context, that is, within the emergence of realism and the re-location of virtue in the private sphere.
Abstract
This paper explores how three Gothic novels written by women writers in 1790s, The Italian, The Wrongs of Woman, and Northanger Abbey, navigate questions of truth and virtue, elaborated by Michael McKeon in his influential re-definition of the novel form. According to McKeon, the genre of the novel attempts to negotiate the double modern predicament of establishing new criteria for truth and virtue. As the analogy between questions of truth and virtue brings completion to the genre of the novel, the place of authority through genealogical inheritance was replaced by narratives of individual achievement of virtue. In each of the female Gothic novels that this paper discusses, free indirect discourse conveys the transparency of interior truth, and the female heroine's virtue is evinced in her sensibility throughout the novel and in her re-formation of the domestic sphere at the novel’s conclusion. Through investigating the three works in relation to McKeon's more recent study of the devolution and domestication of authority, this paper locates the female Gothic novel―often treated as an inferior, transient sub-genre outside the tradition of the realist novel―within a broader literary and historical context, that is, within the emergence of realism and the re-location of virtue in the private sphere.
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