D. H. 로렌스의 「연애하는 여인들」에 나타난 응시의 반복적인 변용
The Repetitive Transformation of Gaze in Women in Love
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This study investigates the repetitive transformation of gaze in Women in Love of D. H. Lawrence. In recognition of the gap between the signifier and the signified, Lawrence believes that “all things flow and change, and even change is not absolute.” In this respect he argues that the novelist should balance “the trembling instability” between reality and representation in a text. Such fluidity of the instant is enacted in Women in Love, especially by transforming the characters’ gaze through the position of “looking at” or “being looked at.” Focusing on each gaze of Gerald, Gudrun, Birkin, Ursula, and Loerke in Women in Love, Lawrence visualizes and stages the scenes in the text theatrically. In staging each scene for readers, Lawrence makes the characters change their roles of “looking at” or “being looked at” in circulation. Moreover, the narrative in the text plays a role to perform it effectively with the construction of a system of self-conscious looking at its spectacle. This way one character’s gaze system is subverted, deconstructed by another one, and left as a signifier or a metamorphic trace. Lawrence intends to transform the text playfully, change the gaze capriciously, and pursue only the temporary living presence. The transformation of gaze in Women in Love is a kind of a device to fictionalize his text itself.
Abstract
This study investigates the repetitive transformation of gaze in Women in Love of D. H. Lawrence. In recognition of the gap between the signifier and the signified, Lawrence believes that “all things flow and change, and even change is not absolute.” In this respect he argues that the novelist should balance “the trembling instability” between reality and representation in a text. Such fluidity of the instant is enacted in Women in Love, especially by transforming the characters’ gaze through the position of “looking at” or “being looked at.” Focusing on each gaze of Gerald, Gudrun, Birkin, Ursula, and Loerke in Women in Love, Lawrence visualizes and stages the scenes in the text theatrically. In staging each scene for readers, Lawrence makes the characters change their roles of “looking at” or “being looked at” in circulation. Moreover, the narrative in the text plays a role to perform it effectively with the construction of a system of self-conscious looking at its spectacle. This way one character’s gaze system is subverted, deconstructed by another one, and left as a signifier or a metamorphic trace. Lawrence intends to transform the text playfully, change the gaze capriciously, and pursue only the temporary living presence. The transformation of gaze in Women in Love is a kind of a device to fictionalize his text itself.
참고문헌 (12)
- 김현주, "『템벌레인 대왕』: 라깡의 정신분석학점 관점에서 살펴 본 동일시와 소외의 주체-템벌레인", 영어영문학연구, 58(2), pp.43~62 (2016), 한국중앙영어영문학회[DOI]
- 이철, "테드 휴즈 시의 ‘눈’(eye)", 영어영문학연구, 59(1), pp.161~179 (2017), 한국중앙영어영문학회[DOI]
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