여성의 사회학: 셰익스피어 4대 비극의 여성 주인공들 중심으로
Sociology of Women: Female Characters in Shakespeare’s Four Major Tragedies
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The purpose of this study is to examine the sociology of the subversiveness in female characters of Shakespeare’s four tragedies. Shakespeare’s tragedies deal with ordinary matters as well as explore the reasons why modern man is referred to as universal. The “invisible hand”(3.2.48) and “unknown power”(4.1.68) in Macbeth are connected with Cultural Materialism and New Historicism. This could be extended into the sociology of subversiveness, as in “How to be a King”. The sociological analytical approach is appropriate for tragedies which have a unity of themes and which not only represent the social history of that era, but also a series of connections or possibility which are not much different from today’s social history. Hamlet, which is the initial tragedy, covers the images of the new man and the sociology of young men and women. Women were the focus of the ruling discourse and were the target of satire in those times. Ophelia’s song, ‘Saint Valentain’s Day’, is her unconscious revolt against society. In Othello, Desdemona and Emilia experience solidarity and freedom of speech in the willow scene, and the women’s friendship in this scene is an implied rebuke of relationships between men in this text. King Lear is a subversive play insofar as it calls into question the ideology of the divine right of kings. Macbeth deals with weak king and the sociology of women. The sociology of an authentic woman-centered character is represented in this text. Lady Macbeth is portrayed as a malicious character from the beginning of the text. Also, the line between an evil human being and a scheming witch is not hard to find, in that Lady Macbeth could easily be either. In this context, we could substitute Lady Machiavelli for Lady Macbeth. Over times, the subjects of the four major tragedies adopt the sociological changes of democratization or social equality among members of society in England and the Renaissance era.
Abstract
The purpose of this study is to examine the sociology of the subversiveness in female characters of Shakespeare’s four tragedies. Shakespeare’s tragedies deal with ordinary matters as well as explore the reasons why modern man is referred to as universal. The “invisible hand”(3.2.48) and “unknown power”(4.1.68) in Macbeth are connected with Cultural Materialism and New Historicism. This could be extended into the sociology of subversiveness, as in “How to be a King”. The sociological analytical approach is appropriate for tragedies which have a unity of themes and which not only represent the social history of that era, but also a series of connections or possibility which are not much different from today’s social history. Hamlet, which is the initial tragedy, covers the images of the new man and the sociology of young men and women. Women were the focus of the ruling discourse and were the target of satire in those times. Ophelia’s song, ‘Saint Valentain’s Day’, is her unconscious revolt against society. In Othello, Desdemona and Emilia experience solidarity and freedom of speech in the willow scene, and the women’s friendship in this scene is an implied rebuke of relationships between men in this text. King Lear is a subversive play insofar as it calls into question the ideology of the divine right of kings. Macbeth deals with weak king and the sociology of women. The sociology of an authentic woman-centered character is represented in this text. Lady Macbeth is portrayed as a malicious character from the beginning of the text. Also, the line between an evil human being and a scheming witch is not hard to find, in that Lady Macbeth could easily be either. In this context, we could substitute Lady Machiavelli for Lady Macbeth. Over times, the subjects of the four major tragedies adopt the sociological changes of democratization or social equality among members of society in England and the Renaissance era.
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