『젊은 예술가의 초상』: 근대와 육체, 그리고 아퀴나스의 감정론
A Portrait of the Artist as a Young Man: Modernity, Body, and Thomas Aquinas on Emotions
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This paper illuminates the way in which James Joyce sees bodily appetite as a human reality contradicting Irish Catholic asceticism in A Portrait of the Artist as a Young Man. At the turn of the century, Dublin was propelled by the culture of commodity whose phantasmagoric nature accounts for Stephen’s enchanting liaison with a prostitute and the rise of sensation novels. Stephen’s guilty but pleasurable enchantment with a female body can be seen as an irresistible power of physical desire, the anti-religious internal drive of which signaled Charles Stuart Parnell’s historical adultery with Katharine O’Shea. This paper particularly explores Joyce’s idea of aesthetic emotions as the psycho-social dialectic of affect, which mediates between conventionalized emotions and non-conventional physical sensations. Thomas Aquinas’s account of irascible passions is seen as the affect of spiritual bodiliness in Joyce’s view of jealousy not as a hate for the other but as the medium for a good as higher pleasure in adultery. This paper further argues that Joyce’s emotional aestheticism, which is transformatively borrowed from Aquinas’s aesthetics, is an endorsement of bodily emotions against Irish Catholic oppression of physical desire.
Abstract
This paper illuminates the way in which James Joyce sees bodily appetite as a human reality contradicting Irish Catholic asceticism in A Portrait of the Artist as a Young Man. At the turn of the century, Dublin was propelled by the culture of commodity whose phantasmagoric nature accounts for Stephen’s enchanting liaison with a prostitute and the rise of sensation novels. Stephen’s guilty but pleasurable enchantment with a female body can be seen as an irresistible power of physical desire, the anti-religious internal drive of which signaled Charles Stuart Parnell’s historical adultery with Katharine O’Shea. This paper particularly explores Joyce’s idea of aesthetic emotions as the psycho-social dialectic of affect, which mediates between conventionalized emotions and non-conventional physical sensations. Thomas Aquinas’s account of irascible passions is seen as the affect of spiritual bodiliness in Joyce’s view of jealousy not as a hate for the other but as the medium for a good as higher pleasure in adultery. This paper further argues that Joyce’s emotional aestheticism, which is transformatively borrowed from Aquinas’s aesthetics, is an endorsement of bodily emotions against Irish Catholic oppression of physical desire.
참고문헌 (18)
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