『심벨린』에 나타난 이아키모의 말하는 그림
Shakespeare’s Vivid Verbal Representation: Iachimo’s Speaking Picture in Cymbeline
2
조회
0
다운로드
2
인용
0
참고문헌
키워드
초록
This essay explores the way that Shakespeare dramatizes an ekphrasis process with the wager between Iachimo and Posthumus in Cymbeline. Recent critics have defined ekphrasis as the verbal representation of visual representation. Many Shakespearean critics increasingly consider Shakespeare’s drama as powerful examples of ekphrasis. In this way, it is possible that ekphrasis should be central to the study of Shakespeare. The wager between Iachimo and Posthumus is a masculine competition for verbal representation and Imogen’s beauty or her body becomes an object for the ekphrasis battle. Thus, the descriptive contest can be seen as an triangle relationship and in Cymbeline, ekphrasis is represented as a strategy by which men describe the female body in order to triumph in a verbal contest with other men. Above all, Iachimo’s description of Imogen and decorations in her bedroom, especially tapestry is one of the best examples of the verbal representation of visual objects in Shakespearean drama. In particular, it is remarkable that Iachimo first calls the hanging in Imogen’s bedchamber an “arras” and then later a “tapestry.” Through the shift in textile terminology, he skillfully dramatizes tapestry ekphrasis. As tapestry is not on the stage but described by Iachimo, Shakespeare requires the audience /reader to see it in the mind’s eye. In bringing pictures to the mind’s eye, ekphrasis can provide images that are not represented on the stage. Eventually, in Cymbleine, Shakespeare’s ekphrasis is presented as a trope that can create a powerful illusion of presence, describing the absent object that we cannot see on the stage.
Abstract
This essay explores the way that Shakespeare dramatizes an ekphrasis process with the wager between Iachimo and Posthumus in Cymbeline. Recent critics have defined ekphrasis as the verbal representation of visual representation. Many Shakespearean critics increasingly consider Shakespeare’s drama as powerful examples of ekphrasis. In this way, it is possible that ekphrasis should be central to the study of Shakespeare. The wager between Iachimo and Posthumus is a masculine competition for verbal representation and Imogen’s beauty or her body becomes an object for the ekphrasis battle. Thus, the descriptive contest can be seen as an triangle relationship and in Cymbeline, ekphrasis is represented as a strategy by which men describe the female body in order to triumph in a verbal contest with other men. Above all, Iachimo’s description of Imogen and decorations in her bedroom, especially tapestry is one of the best examples of the verbal representation of visual objects in Shakespearean drama. In particular, it is remarkable that Iachimo first calls the hanging in Imogen’s bedchamber an “arras” and then later a “tapestry.” Through the shift in textile terminology, he skillfully dramatizes tapestry ekphrasis. As tapestry is not on the stage but described by Iachimo, Shakespeare requires the audience /reader to see it in the mind’s eye. In bringing pictures to the mind’s eye, ekphrasis can provide images that are not represented on the stage. Eventually, in Cymbleine, Shakespeare’s ekphrasis is presented as a trope that can create a powerful illusion of presence, describing the absent object that we cannot see on the stage.
참고문헌 (26)
- 오수진, "『햄릿』에 나타난 이야기하는 그림", 영어영문학연구, 55(2), pp.165~186 (2013), 한국중앙영어영문학회
- 프라즈, 마리오, "문학과 미술의 대화" (1986), 연세대학교 출판부
- 피종호, "문학의 탈경계와 상호 예술성" (2009), 아카넷
- Belsey, Catherine, "Shakespeare : The Loss of Eden" (1999), Rutgers UP
- Clemen, Wolfgang, "Shakespeare’s Soliloquies" (1987), Methuen
- Frye, Susan, "Early Modern Visual Culture: Representation, Race, and Empire in Renaissance England", pp.215~250 (2000), U of Pennsylvania P
- Garber, Marjorie B, "Dream in Shakespeare : From Metaphor to Metamorphosis" (1975), Yale UP
- Hagstrum, Jean H, "The Sister Arts : The Tradition of Literary Pictorialism and English Poetry from Dryden to Gray" (1958), U of Chicago P
- King, Ros, "Cymbeline : Constructions of Britain" (2005), Ashgate
- Miller, Nancy K, "The Poetics of Gender", pp.270~295 (1986), Columbia UP
- Mitchell, W. J. T, "Picture Theory : Essays on Verbal and Visual Representation" (1994), U of Chicago P
- Neely, Carol Thomas, "Broken Nuptials in Shakespeare’s Plays" (1985), Yale UP
- Olson, Rebecca, "Before the Arras: Textile Description and Innogen’s Translation in Cymbeline", Modern Philology, 108, pp.45~64 (2010)
- Ronk, Martha, "Locating the Visual in As you Like it", Shakespeare Quarterly, 53, pp.255~276 (2001)
- Shakespeare, William, "The Arden Shakespeare: Cymbeline" (2007), Thomson
- Shakespeare, William, "The Arden Shakespeare: Hamlet" (1992), Routledge
- Shakespeare, William, "The Arden Shakespeare: King Lear" (1997), Cengage Learning
- Shakespeare, William, "The Arden Shakespeare: The Taming of the Shrew" (1981), Routledge
- Shakespeare, William, "The Norton Shakespeare: Othello" (1997), Norton
- Shakespeare, William, "The Norton Shakespeare: The Rape of Lucrece" (1997), Norton
- Shakespeare, William, "The Oxford Shakespeare: Henry Ⅳ Part One" (1987), Oxford UP
- Thorne, Alison, "Shakespeare’s Late Plays", pp.176~190 (1999), Edinburgh UP
- Uphaus, Robert W, "Beyond Tragedy : Structure & Experience in Shakespeare’s Romances" (1981), UP of Kentucky
- Vickers, Nancy, "Shakespeare and the Question of Theory", pp.95~116 (1985), Methuen
- Warren, Roger, "Theatrical Virtuosity and Poetic Complexity in Cymbeiline", S. S, 29, pp.41~49 (1976)
- Ziegler, Georgiana, "My Lady’s Chamber: Female Space, Female Chastity in Shakespeare", Textual Practice, 4, pp.73~90 (1990)