사랑이라는 이름의 궤변: 『장미 이야기』에 나타난 남성 환상과 여성혐오의 자기해체
Sophistry Named Love: Male Fantasy and the Self-Cancelation of Misogyny in Le roman de la rose
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The medieval courtly allegory par excellence, Le roman de la rose is at once scandalously anti-feminist and relentlessly self-revealing. The poem (especially the second part completed by Jean de Meun) is saturated with misogynist tirades, but it is still sober and intelligent enough to elucidate that the gist of courtly love is the male fantasy fueled by misogyny, and that such fantasy is nurtured by the desire that is distinctively narcissistic. The poem’s quasi-scholastic, dauntingly sophisticated rhetoric eventually proves to be self-canceling and self-destructive: the discrepancy between words and things, representation and reality, characterizing the poem thwarts its own discursive attempt to vilify and domesticate women.
Abstract
The medieval courtly allegory par excellence, Le roman de la rose is at once scandalously anti-feminist and relentlessly self-revealing. The poem (especially the second part completed by Jean de Meun) is saturated with misogynist tirades, but it is still sober and intelligent enough to elucidate that the gist of courtly love is the male fantasy fueled by misogyny, and that such fantasy is nurtured by the desire that is distinctively narcissistic. The poem’s quasi-scholastic, dauntingly sophisticated rhetoric eventually proves to be self-canceling and self-destructive: the discrepancy between words and things, representation and reality, characterizing the poem thwarts its own discursive attempt to vilify and domesticate women.
참고문헌 (20)
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