공포의 미학: 『우돌포의 미스테리』의 경우
Aesthetics of Terror: The Case of The Mysteries of Udolpho
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This paper argues that the terror in The Mysteries of Udolpho is something not to be refuted or overcome but to be eagerly pursued and even enjoyed. Terror as it is rendered in The Mysteries of Udolpho is a game for Emily to be engaged in while waiting for the turn of her fortune wheel into a once more favorable cycle. Cornered by one misfortune after another but with virtually nothing to do to improve the situation for herself, Emily seeks rather actively for terror or sources of terror from which she seemingly flinches away. Emily continues this game up until all her troubles are blown off or melted away with the passing of the time. As it is, the terror functions as an aesthetic escape for Emily, for it is supposed to “occupy, expand, and elevate the mind to something higher,” something like “futurity” or “the sublimity of God.” Sensibility is what makes the terror possible or makes possible the purpose of the terror as it is presented in this novel. Sensibility, in other words, is what makes the terror more terrifying and thereby takes the mind off its secular concerns and secures it immediately to itself, gradually leading it to otherworldly concerns. Thanks to such a philosophic or psychological game, Emily could escape rather unscathed even while going through the severest cycle of her fortune. The way Radcliffe presents seemingly disparate elements of her novel - the acute appreciation of the nature and the gothic grandeur, the terror, the poetry, together with the bathetic ending of the whole terror stories - is adduced as arguments supporting the function of terror and sensibility for this novel.
Abstract
This paper argues that the terror in The Mysteries of Udolpho is something not to be refuted or overcome but to be eagerly pursued and even enjoyed. Terror as it is rendered in The Mysteries of Udolpho is a game for Emily to be engaged in while waiting for the turn of her fortune wheel into a once more favorable cycle. Cornered by one misfortune after another but with virtually nothing to do to improve the situation for herself, Emily seeks rather actively for terror or sources of terror from which she seemingly flinches away. Emily continues this game up until all her troubles are blown off or melted away with the passing of the time. As it is, the terror functions as an aesthetic escape for Emily, for it is supposed to “occupy, expand, and elevate the mind to something higher,” something like “futurity” or “the sublimity of God.” Sensibility is what makes the terror possible or makes possible the purpose of the terror as it is presented in this novel. Sensibility, in other words, is what makes the terror more terrifying and thereby takes the mind off its secular concerns and secures it immediately to itself, gradually leading it to otherworldly concerns. Thanks to such a philosophic or psychological game, Emily could escape rather unscathed even while going through the severest cycle of her fortune. The way Radcliffe presents seemingly disparate elements of her novel - the acute appreciation of the nature and the gothic grandeur, the terror, the poetry, together with the bathetic ending of the whole terror stories - is adduced as arguments supporting the function of terror and sensibility for this novel.
참고문헌 (17)
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