『 올랜도: 전기 』속 화자의 곤경과 정동적 포스트휴먼 주체
The Predicament of the Narrator and the Emergence of an Affective Posthuman Subjectivity in Virginia Woolf’s Orlando: A Biography
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This paper examines the subjectivity in Orlando through the lens of posthuman feminist philosopher Rosi Braidotti’s emphasis on positive affects. Pleasure, ecstasy, and what Braidotti calls the ‘life force’ pervade Orlando and are central to the protagonist’s affective posthuman subjectivity. However, Orlando’s vitality is repeatedly suppressed, regulated, and at times obliterated, both within and beyond the narrative, by heteronormative, anthropocentric, and patriarchal social structures and their interlocking literary conventions. Ironically, the most subtle and persistent challenge to Orlando’s subjectivity comes from the narrator, Orlando’s own biographer. Braidotti asserts that serious attention to subjectivity must account for “factors such as creation and imagination, desire, hope, and aspiration.” Yet the narrator expresses discomfort and frustration in the face of Orlando’s pleasures and desires, undermining her love and sexuality, thus threatening her very existence. By focusing on the narrator’s perspective, which has received relatively little critical attention, and examining the narrator's self-consciousness about his writing, I argue that Orlando emerges as a new form of affective posthuman subjectivity. This subjectivity challenges the heteronormativity and anthropocentrism ingrained in the traditional biographical genre and the coming-of-age narrative, manifesting through sensations, emotions, desires, and a poetic spirit that transcend the narrator’s control and defy his intentions.
Abstract
This paper examines the subjectivity in Orlando through the lens of posthuman feminist philosopher Rosi Braidotti’s emphasis on positive affects. Pleasure, ecstasy, and what Braidotti calls the ‘life force’ pervade Orlando and are central to the protagonist’s affective posthuman subjectivity. However, Orlando’s vitality is repeatedly suppressed, regulated, and at times obliterated, both within and beyond the narrative, by heteronormative, anthropocentric, and patriarchal social structures and their interlocking literary conventions. Ironically, the most subtle and persistent challenge to Orlando’s subjectivity comes from the narrator, Orlando’s own biographer. Braidotti asserts that serious attention to subjectivity must account for “factors such as creation and imagination, desire, hope, and aspiration.” Yet the narrator expresses discomfort and frustration in the face of Orlando’s pleasures and desires, undermining her love and sexuality, thus threatening her very existence. By focusing on the narrator’s perspective, which has received relatively little critical attention, and examining the narrator's self-consciousness about his writing, I argue that Orlando emerges as a new form of affective posthuman subjectivity. This subjectivity challenges the heteronormativity and anthropocentrism ingrained in the traditional biographical genre and the coming-of-age narrative, manifesting through sensations, emotions, desires, and a poetic spirit that transcend the narrator’s control and defy his intentions.
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