Hamlet에 나타난 비극적 더블링
The Tragic Doubling in Hamlet
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This thesis aims to observe how the relationship between Hamlet and Ophelia, the double, leads Hamlet to the way to a tragedy. It also highlights Hamlet's transformation as a symbol of the words, and Ophelia's split from him to become a symbol of emotional song-speech. Hamlet, though his poetic dictions are heightened to the peak of the words, is not able to reach the level of Ophelia's musical song-speech until he is reunited with Ophelia at her grave. Meanwhile, previous studies tend to regard Laertes as the double of Hamlet. Laertes, being objectified as love and jealousy by Hamlet, is a double of Hamlet possessing desire to revenge, with an affection for Ophelia. Hamlet decouples Ophelia from himself to accomplish his ultimate aim, murdering Claudius: but this decoupling also signifies his split from the desire, which is essential to make him act for the revenge. As the result of this split, Hamlet stays at the stage of the linguistic mimesis that estranges him from the real purpose, and this mimesis makes him go blind not to distinguish the representing and the represented. Theoretically, this thesis is indebted to Bradley's traditional character theory, Lacanian psychoanalytic theory, and Weimann's theory of mimesis.
Abstract
This thesis aims to observe how the relationship between Hamlet and Ophelia, the double, leads Hamlet to the way to a tragedy. It also highlights Hamlet's transformation as a symbol of the words, and Ophelia's split from him to become a symbol of emotional song-speech. Hamlet, though his poetic dictions are heightened to the peak of the words, is not able to reach the level of Ophelia's musical song-speech until he is reunited with Ophelia at her grave. Meanwhile, previous studies tend to regard Laertes as the double of Hamlet. Laertes, being objectified as love and jealousy by Hamlet, is a double of Hamlet possessing desire to revenge, with an affection for Ophelia. Hamlet decouples Ophelia from himself to accomplish his ultimate aim, murdering Claudius: but this decoupling also signifies his split from the desire, which is essential to make him act for the revenge. As the result of this split, Hamlet stays at the stage of the linguistic mimesis that estranges him from the real purpose, and this mimesis makes him go blind not to distinguish the representing and the represented. Theoretically, this thesis is indebted to Bradley's traditional character theory, Lacanian psychoanalytic theory, and Weimann's theory of mimesis.
참고문헌 (22)
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