사라 워터스의 『벨벳 애무하기』에 나타난 신-빅토리아주의의 ‘공간 정치학’
‘Spatial Politics’ of Neo-Victorianism in Sarah Waters’s Tipping the Velvet
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This paper aims to regard Sarah Waters’s Tipping the Velvet as a neo-victorian text and examine the spatial politics through the neo-victorian text, Tipping the Velvet. It tries to distinguish the neo-victorian text from the historical fiction because the neo-victorian is more than historical fiction set in the nineteenth century and is self-consciously engaged with the act of re-interpretation, re-discovery and re-vision about the Victorians. Music hall in Tipping the Velvet, is a violating space. As a male impersonator, Nancy performs on the stages of music hall with Kitty, on the Diana’s private one as her tart, and on speech one in the Victorian Park with Florence, a socialist. On the stages Nancy undergoes her subjectivation and obtains her own queer voice. From queer gestures to queer voice, queer narrative politically can undermine the norms of heterosexual society and re-vise History. Like neo-victorianism and Nancy’s body, London is a paradoxical space occupying both the centre and the margin, the inside and the outside and having the dynamic energy between poles. They are also multidimensional ones structured by the simultaneous contradictory diversity of social relations. Nancy’s body becomes a performative text through walking the streets of London.
Abstract
This paper aims to regard Sarah Waters’s Tipping the Velvet as a neo-victorian text and examine the spatial politics through the neo-victorian text, Tipping the Velvet. It tries to distinguish the neo-victorian text from the historical fiction because the neo-victorian is more than historical fiction set in the nineteenth century and is self-consciously engaged with the act of re-interpretation, re-discovery and re-vision about the Victorians. Music hall in Tipping the Velvet, is a violating space. As a male impersonator, Nancy performs on the stages of music hall with Kitty, on the Diana’s private one as her tart, and on speech one in the Victorian Park with Florence, a socialist. On the stages Nancy undergoes her subjectivation and obtains her own queer voice. From queer gestures to queer voice, queer narrative politically can undermine the norms of heterosexual society and re-vise History. Like neo-victorianism and Nancy’s body, London is a paradoxical space occupying both the centre and the margin, the inside and the outside and having the dynamic energy between poles. They are also multidimensional ones structured by the simultaneous contradictory diversity of social relations. Nancy’s body becomes a performative text through walking the streets of London.
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