『타이터스 앤드로니커스』에 나타난가족과 모성 그리고 폭력: 그 연계된 의미
Family, Maternity and Violence in Titus Andronicus: The Connected Meanings
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This paper attempts to disclose a certain dramatic features germane to Titus Andronicus, an early Shakespearean tragedy, regarded as controversial for excess of violence and cruelty. The dramatic features are placed under scrutiny in terms of the amplified meanings of the family and maternity looming in the play in relation to seemingly unbound varieties of violence. The paper begins with an overview of the concepts of family and maternity understood as a historical as much as a literary device. The argument follows the line of feminist dialogue, pointing to varied ways of relating gender to rhetoric, biology, and other symbolic topics, as well as to social beliefs and institutions. The main argument addresses the familial norms, nexus and maternal entanglements protruded in the play. These issues are examined in close reference to the patriarchal values and ideologies entertained in Rome. The paper finds the fossilized piety of the Andronici responsible for the initial spread of violence in the play. The paper also argues that the lustful and wicked Tamora, as commonly interpreted by critics, is credited to embodying the triad layers of maternity: instinctive, power-laden, and one enclosed in the Lacanian Imaginary World. The paper takes note of Tamora wielding maternal power, albeit perverted, to reciprocate the evil done by Titus. It also takes note of Lavinia, the very symbol of female virtues in Rome, portrayed unfavorably in this discourse for her insensitivity to maternity and to human compassion. The paper concludes that even though Tamora stays outside the realm of normative femininity in Rome, she prevails as a figure bolstering up the construct of family and maternity as a theatrical element considered crucial to interpreting the violence in this play.
Abstract
This paper attempts to disclose a certain dramatic features germane to Titus Andronicus, an early Shakespearean tragedy, regarded as controversial for excess of violence and cruelty. The dramatic features are placed under scrutiny in terms of the amplified meanings of the family and maternity looming in the play in relation to seemingly unbound varieties of violence. The paper begins with an overview of the concepts of family and maternity understood as a historical as much as a literary device. The argument follows the line of feminist dialogue, pointing to varied ways of relating gender to rhetoric, biology, and other symbolic topics, as well as to social beliefs and institutions. The main argument addresses the familial norms, nexus and maternal entanglements protruded in the play. These issues are examined in close reference to the patriarchal values and ideologies entertained in Rome. The paper finds the fossilized piety of the Andronici responsible for the initial spread of violence in the play. The paper also argues that the lustful and wicked Tamora, as commonly interpreted by critics, is credited to embodying the triad layers of maternity: instinctive, power-laden, and one enclosed in the Lacanian Imaginary World. The paper takes note of Tamora wielding maternal power, albeit perverted, to reciprocate the evil done by Titus. It also takes note of Lavinia, the very symbol of female virtues in Rome, portrayed unfavorably in this discourse for her insensitivity to maternity and to human compassion. The paper concludes that even though Tamora stays outside the realm of normative femininity in Rome, she prevails as a figure bolstering up the construct of family and maternity as a theatrical element considered crucial to interpreting the violence in this play.
참고문헌 (31)
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