마가렛 카벤디쉬의 제안: 또 하나의 유토피아
Margaret Cavendish's Suggestion: Another Utopia
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Margaret Cavendish(1623-1673), relatively ignored in spite of her prolific literary productivity, has been recently drawing the attention of the academics. She has been criticized by numerous male critics and even by female critics including Virginia Woolf. However, negative assessments of Cavendish’s writings have begun to reverse. By focusing on Bell in Campo, this paper aims to re-evaluate her writings as pioneering attempts which anticipated feminine writings advanced by Hélène Cixous or Judith Butler’s views on gender and performativity. The introduction examines the movements and changes in critical attitudes regarding Margaret Cavendish’s dramatic oeuvre. Cavendish’s Bell in Campo projects Cavendish’s vision of utopia which offers equal opportunity to both sexes by demolishing the present gender hierarchy. In Bell in Campo, foregrounding the chaotic world during the civil war, Cavendish tests women’s capacity and gender role by presenting women as ‘armed’ soldiers in the masculine world—the war and the battlefield—and coins new words such as ‘Heroickess,’ ‘Generalless,’ ‘Instructeress,’ and ‘Tutoress.’ In Bell in Campo, women’s weak and delicate body operates as a warlike body in the female army, and even displays their superiority over the male body by defeating and rescuing the male army. Thus, women soldiers become a new ‘signifier’, instead of being contained in the established signifier, even taking the risk of becoming linguistic hybrids. Cavendish’s women succeeded in their new self-fashioning beyond the conventional boundary of gendered hierarchy.
Abstract
Margaret Cavendish(1623-1673), relatively ignored in spite of her prolific literary productivity, has been recently drawing the attention of the academics. She has been criticized by numerous male critics and even by female critics including Virginia Woolf. However, negative assessments of Cavendish’s writings have begun to reverse. By focusing on Bell in Campo, this paper aims to re-evaluate her writings as pioneering attempts which anticipated feminine writings advanced by Hélène Cixous or Judith Butler’s views on gender and performativity. The introduction examines the movements and changes in critical attitudes regarding Margaret Cavendish’s dramatic oeuvre. Cavendish’s Bell in Campo projects Cavendish’s vision of utopia which offers equal opportunity to both sexes by demolishing the present gender hierarchy. In Bell in Campo, foregrounding the chaotic world during the civil war, Cavendish tests women’s capacity and gender role by presenting women as ‘armed’ soldiers in the masculine world—the war and the battlefield—and coins new words such as ‘Heroickess,’ ‘Generalless,’ ‘Instructeress,’ and ‘Tutoress.’ In Bell in Campo, women’s weak and delicate body operates as a warlike body in the female army, and even displays their superiority over the male body by defeating and rescuing the male army. Thus, women soldiers become a new ‘signifier’, instead of being contained in the established signifier, even taking the risk of becoming linguistic hybrids. Cavendish’s women succeeded in their new self-fashioning beyond the conventional boundary of gendered hierarchy.
참고문헌 (32)
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