상품문화와 계급불안, 전통적 귀족사회의 해체: 루돌프 발렌티노를 원형으로 읽는 『위대한 개츠비』
Commodity Culture, Class Anxiety, and the Deconstruction of Old American Aristocracy: The Valentinian Allusion in F. Scott Fitzgerald’s The Great Gatsby
0
조회
0
다운로드
1
인용
0
참고문헌
키워드
초록
When Nick Carraway and Jordan Baker hear “The Sheik of Araby,” F. Scott Fitzgerald constructs a substantial identification between Rudolph Valentino’s feminized male eroticism and Jay Gatsby’s exoticness as a modern dandy in The Great Gatsby. The song was composed about a movie The Sheik (1921) where Valentino performed a young head of an Arabian clan. In constructing Gatsby’s ethnicity and sexuality in the novel, Fitzgerald alludes to the Italian-born actor Valentino who gained success through the erotic commodification of his unmarked transvestism and hyper-manhood, which laid him open to xenophobic attack in the early-twentieth-century U.S. culture. The implicit presence of Valentino, whose commodified ethnicity agitated the sense of class security of mainstream white aristocracy, shapes Tom’s xenophobia against Gatsby’s ethnicity in The Great Gatsby. The prototypal construction of Valentino places the novel in the historical era when a profitable but unassimilable commodity in an industry built on ethnic success infiltrated into the market-driven culture. In this cultural milieu, Gatsby’s willingness to commodify himself opens up new ways to penetrate the class barrier not through traditional class struggle but through self-reinvention.
Abstract
When Nick Carraway and Jordan Baker hear “The Sheik of Araby,” F. Scott Fitzgerald constructs a substantial identification between Rudolph Valentino’s feminized male eroticism and Jay Gatsby’s exoticness as a modern dandy in The Great Gatsby. The song was composed about a movie The Sheik (1921) where Valentino performed a young head of an Arabian clan. In constructing Gatsby’s ethnicity and sexuality in the novel, Fitzgerald alludes to the Italian-born actor Valentino who gained success through the erotic commodification of his unmarked transvestism and hyper-manhood, which laid him open to xenophobic attack in the early-twentieth-century U.S. culture. The implicit presence of Valentino, whose commodified ethnicity agitated the sense of class security of mainstream white aristocracy, shapes Tom’s xenophobia against Gatsby’s ethnicity in The Great Gatsby. The prototypal construction of Valentino places the novel in the historical era when a profitable but unassimilable commodity in an industry built on ethnic success infiltrated into the market-driven culture. In this cultural milieu, Gatsby’s willingness to commodify himself opens up new ways to penetrate the class barrier not through traditional class struggle but through self-reinvention.
참고문헌 (28)
- 박용준, "좌절과 희망 사이: 『거리의 여인 매기』와 『위대한 개츠비』에 나타난 아메리칸 드림의 재현 양상", 영어영문학연구, 55(4), pp.211~233 (2013), 한국중앙영어영문학회[DOI]
- 사공철, "『위대한 개츠비』에 나타난 꿈의 실현과 사랑의 대속", 영어영문학연구, 55(3), pp.249~269 (2013), 한국중앙영어영문학회[DOI]
- 손정희, "플래퍼와 1920년대 미국 문화의 여성 이미지: 피츠제럴드를 중심으로", 미국학 논집, 41(2), pp.133~159 (2009), 한국아메리카학회
- Agnew, Jean-Christophe, "Consuming Visions: Accumulation and Display of Goods in America, 1880-1920", pp.133~155 (1982), Norton
- Berman, Ronald, "Advertising and Social Change" (1981), Sage Publication
- Berman, Ronald, "The Great Gatsby and Modern Times" (1994), U of Illinois P
- Brauer, Stephen, "Approaches to Teaching Fitzgerald’s The Great Gatsby", pp.84~92 (2009), The Modern Language Association of America
- Clymer, Jeffory A., "‘Mr. Nobody from Nowhere’: Rudolph Valentino, Jay Gatsby, and the End of the American Race", Genre, 29, pp.161~191 (1996)
- Decker, Jeffrey Louis, "Gatsby’s Pristine Dream: The Diminishment of the Self-Made Man in the Tribal Twenties", NOVEL: A Forum on Fiction, 28(1), pp.52~71 (1994)
- Fitzgerald, F. Scott, "The Great Gatsby" (2000), Penguin Classics
- Girelli, Elisabetta, "Before The Sheik: Rudolph Valentino and Sexual Melancholia", Film International, 13(2), pp.6~18 (2015)
- Glancy, Mark, "Hollywood and the Americanization of Britain: From the 1920s to the Present" (2013), I. B. Tauris
- Godden, Richard, "Fictions of Capital: The American Novel from James to Mailer" (1990), Cambridge UP
- Goldsmith, Meredith, "White Skin, White Mask: Passing, Posing, and Performing in The Great Gatsby", MFS Modern Fiction Studies, 49(3), pp.443~468 (2003)
- Gourley, Catherine, "Flappers and the New American Woman:Perceptions of Women from 1918 through the 1920s" (2008), Twenty-First Century Books
- Hansen, Miriam, "Pleasure, Ambivalence, Identification: Valentino and Female Spectatorship", Cinema Journal, 25(4), pp.6~32 (1986)
- Holquist, Michael, "Dialogism: Bakhtin and His World" (2002), Routledge
- Lehan, Richard., "The Great Gatsby: The Limits of Wonder" (1995), Simon & Schuster Macmilan
- Leider, Emily W., "Dark lover: The Life and Death of Rudolph Valentino" (2004), Faber, Straus and Giroux
- Lynd, Robert Staughton, "Middletown: A Study in American Culture" (1956), Harcourt, Brace
- Michaels, Walter Benn, "Our America: Nativism, Modernism, and Pluralism" (1995), Duke UP
- Nowlin, Michael, "Approaches to Teaching Fitzgerald’s The Great Gatsby", pp.50~58 (2009), The Modern Language Association of America
- Pauly, Thomas, "Gatsby as Gangster", Studies in American Fiction, 21(2), pp.225~236 (1993)
- Pekarofski, Michael., "The Passing of Jay Gatsby: Class and Anti-Semitism in Fitzgerald’s 1920s America", The F. Scott Fitzgerald Review, 10, pp.52~72 (2012)
- Roosevelt, Theodore, "The Strenuous Life", Voices of Democracy, ~ (2018)
- Studlar, Gaylyn, "Discourses of Gender and Ethnicity: The Construction and De(con)struction of Rudolph Valentino as Other", Film Criticism, 13(2), pp.18~35 (1989)
- Studlar, Gaylyn, "This Mad Masquerade Stardom and Masculinity in the Jazz Age" (1996), Columbia UP
- Will, Barbara, "The Great Gatsby and the Obscene Word", College Literature, 32(4), pp.125~144 (2005)