진 리스의 반로맨스적 여주인공들:『미스터 메켄지를 떠난 후』와『굿모닝, 미드나잇』의 경우
Counter-romantic Heroines in Jean Rhys’s After Leaving Mr. Mackenzie and Good Morning, Midnight
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Jean Rhys questions the realities of women’s actual position in the capitalistic and patriarchal society with her counter-romantic heroines. The middle-aged poverty-stricken heroines of Rhys’s 1930’s novels, After Leaving Mr. Mackenzie (1930) and Good Morning, Midnight (1939) depict the realities of women, which romance readers want to avoid and escape. Rhys holds crude pictures of ageing women contrary to romantic fantasies; thus, she serves to disillusion the patriarchal fantasy promising the happy endings of marriage and patriarchal protection described in romance novels. Romance provides women with patriarchal ideology of women’s roles as a daughter, a wife, and a mother. The ideal of woman as “an angel in the house” has been reflected in the tradition of western romance novels. At this point, we should consider the realities a woman faces as she has experienced the consequences of patriarchal marriage failure; as a result, she cannot satisfactorily fulfill the roles that the society prescribes and demands to women. Rhys’s heroines are women excluded from patriarchal protection, alienated from family, without a husband or a father, and certainly escapees from the stultifying bonds of domesticity. In Rhys’s world, women’s independence has become futile, sterile, and rather sordid. They are trapped by ostracism of patriarchy, cultural alienation, relative poverty, and ageing. Rhys shows how middle-aged ignored and less privileged women in social stratification reflect the insecurities in which urban single women had in her works. With these novels, Rhys poignantly explores the relation between women’s age and the economic market, and demonstrates that the psychological effects of age on women who are well aware of the value of youth and her body. These silenced and objectified women are treated as a zombie, which is neither living nor dead, neither fully embodied nor entirely bodiless, as they age.
Abstract
Jean Rhys questions the realities of women’s actual position in the capitalistic and patriarchal society with her counter-romantic heroines. The middle-aged poverty-stricken heroines of Rhys’s 1930’s novels, After Leaving Mr. Mackenzie (1930) and Good Morning, Midnight (1939) depict the realities of women, which romance readers want to avoid and escape. Rhys holds crude pictures of ageing women contrary to romantic fantasies; thus, she serves to disillusion the patriarchal fantasy promising the happy endings of marriage and patriarchal protection described in romance novels. Romance provides women with patriarchal ideology of women’s roles as a daughter, a wife, and a mother. The ideal of woman as “an angel in the house” has been reflected in the tradition of western romance novels. At this point, we should consider the realities a woman faces as she has experienced the consequences of patriarchal marriage failure; as a result, she cannot satisfactorily fulfill the roles that the society prescribes and demands to women. Rhys’s heroines are women excluded from patriarchal protection, alienated from family, without a husband or a father, and certainly escapees from the stultifying bonds of domesticity. In Rhys’s world, women’s independence has become futile, sterile, and rather sordid. They are trapped by ostracism of patriarchy, cultural alienation, relative poverty, and ageing. Rhys shows how middle-aged ignored and less privileged women in social stratification reflect the insecurities in which urban single women had in her works. With these novels, Rhys poignantly explores the relation between women’s age and the economic market, and demonstrates that the psychological effects of age on women who are well aware of the value of youth and her body. These silenced and objectified women are treated as a zombie, which is neither living nor dead, neither fully embodied nor entirely bodiless, as they age.
참고문헌 (24)
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