호손의 「모반」: “영웅적 장인”의 몰락과 위기의 남성성
Hawthorne’s “The Birth-mark” and the Crisis of American Masculinity
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This essay is an attempt to illuminate the problematic formation of white American manhood in the early nineteenth century by examining what is central to the self-fashioning of a middle-aged man Aylmer, a hero in Nathaniel Hawthorne’s “The Birth-mark”: anxiety, projection, and violence. Historically, “Heroic Artisan” men represented native-born white independent farmers and artisans, who emerged since the beginning of the new republic and depended on systems of patriarchy, professional expertise, and small capital. This type of manhood, however, began to be exposed to the possibility of losing its economic independence and degenerating into the working class amid the fierce competition and deepening economic disparity caused by the Market Revolution. In response to this economic crisis, the Heroic Artisans projected their fears onto women, immigrant workers, African Americans, and Native Americans and tried to climb the social ladder by excluding these sexual and racial others. Likewise, Aylmer, who has fallen behind in the market competition due to his outdated craft of alchemy and meager capital, projects his own anxiety about the fearful market onto his wife, Georgiana, and his immigrant worker employee, Aminadab. Alymer excludes and exploits them for the purpose of achieving his market success and thereby the ideal of the middle-class manhood, the “Self-made Man.” However, the tragic results of Aylmer’s last scientific experiment called “spiritualization” are his murder of his own wife and Amainadab’s final mocking laughs. In this way, Hawthorne vividly criticizes the cruel and violent desire structurally fostered by the dominant ideal of American manhood of the time, the “Self-made Man.”
Abstract
This essay is an attempt to illuminate the problematic formation of white American manhood in the early nineteenth century by examining what is central to the self-fashioning of a middle-aged man Aylmer, a hero in Nathaniel Hawthorne’s “The Birth-mark”: anxiety, projection, and violence. Historically, “Heroic Artisan” men represented native-born white independent farmers and artisans, who emerged since the beginning of the new republic and depended on systems of patriarchy, professional expertise, and small capital. This type of manhood, however, began to be exposed to the possibility of losing its economic independence and degenerating into the working class amid the fierce competition and deepening economic disparity caused by the Market Revolution. In response to this economic crisis, the Heroic Artisans projected their fears onto women, immigrant workers, African Americans, and Native Americans and tried to climb the social ladder by excluding these sexual and racial others. Likewise, Aylmer, who has fallen behind in the market competition due to his outdated craft of alchemy and meager capital, projects his own anxiety about the fearful market onto his wife, Georgiana, and his immigrant worker employee, Aminadab. Alymer excludes and exploits them for the purpose of achieving his market success and thereby the ideal of the middle-class manhood, the “Self-made Man.” However, the tragic results of Aylmer’s last scientific experiment called “spiritualization” are his murder of his own wife and Amainadab’s final mocking laughs. In this way, Hawthorne vividly criticizes the cruel and violent desire structurally fostered by the dominant ideal of American manhood of the time, the “Self-made Man.”
참고문헌 (27)
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