라깡의 실재계적 관점에서 파우스투스의 욕망읽기

Abstract

The purpose of this study is to examine the significance of human desire in Christopher Marlowe's Doctor Faustus in terms of the Lacanian Psychoanalysis Theory. It is a common observation that the paradigm of Lacanian discourse is divided in three orders, The Imagination, The Symbolic, and The Real. A renowned theorist of the human passions, Lacan maintains that human desire is in fact a structured subconsciousness as Saussure proposes the language is. Thus, human desire becomes the subject matter of Lacanian psychoanalysis.Marlowe, on the other hand, is a great Renaissance dramatist who dramatizes in his works the conflicts between the unlimited human aspirations and the limitations of reality. Marlowe's spectacular stages are always designed to provoke, unsettle, and challenge the audience, who are bound to be amazed at the scale of human desire manifested in Marlowe's heros. Through the heros in his drama, Marlowe displays powerful emotions, together with embellished poetic languages and intense dramatic sequences. As a careful organizer of dramatic language, he is keenly aware of the fact that human language is structured to manifest the speaker's subconscious desire. Hence, Marlowe's dramatic world may be justly interpreted by Lacan's view of human desire. "The Real" is examined through Doctor Faustus, in respects of the subject who is unable to tell who he is. Lacan's world of The Real is the place of impossibility, and it cannot be realized without Fantasy. The Real also can be described as an anti-discourse, or a kind of resistance within the world and the human mind. It is both intrinsical and universal, and it is manifested in the common aspect of the people who make desire. It is always-anytime-be there, but it should be lack. As a lack of symbolic order, it is the place beyond the network of society, but it should always be there.