현대 여성작가들의 셰익스피어 다시쓰기 : 제인 스마일리의 『천 에이커』와 안젤라 카터의 『현명한 아이들』을 중심으로

도해자 韓國外國語大學校 大學院 2011 국내박사

Contemporary Women Writers' Rewriting of Shakespeare: Jane Smiley's A Thousand Acres and Angela Carter's Wise Children Haeja Do Department of English Literature Graduate School Hankuk University of Foreign Studies This dissertation examines the ways the contemporary novelists Jane Smiley and Angela Carter rewrite Shakespeare in A Thousand Acres and Wise Children respectively. Smiley's and Carter's rewritings are among feminist revisionist tasks. When it comes to re-visioning Shakespeare, feminist rewriters get female characters out of such traditional plots as doom them to an oppressive marriage or death, demythologizing male heroism and female martyrdom as well. Alternatively, they seek to envision and revision figures who remain silent, marginalized, or demonized in the original Shakespeare. As a contemporary rewriting of King Lear, Smiley's A Thousand Acres focalizes the 'evil' daughters in King Lear, whose titular character is Lear, the patriarch of a family and a nation. Through focalizing the daughters Smiley offers the daughters' repressed or unacknowledged story in Shakespeare's text and a radical critique of the culture that produced Lear/Larry. King Lear gives no explanation for the two daughters' cruelty to their father. A Thousand Acres makes its major change by making up a plausible motive for the girls' action. Smiley's novel throws into sharp relief the patriarch's sexual abuse of daughters and patriarchal family cultures that have made it possible. Smiley powerfully adopts an ecofeminist perspective. Ecofeminists argue that Western patriarchism has seen women and nature as lesser entity than men and culture, and this dualistic and hierarchial way of thinking has justified and promoted the exploitation of both women and nature. In Smiley's A Thousand Acres patriarchs exploited animal, land, and women for their 'proud progress'. Patriarchs' abuse at them has had disastrous consequences for women, nature, and men themselves in the end. While Smiley's rewriting focuses on Shakespearean tragedy King Lear, Carter attempts to deconstruct and transform the British cultural hero, Shakespeare as well as Shakespearean romantic comedy A Midsummer Night's Dream. Rewriting A Midsummer Night's Dream, Carter suggests that the Court of Oberon and Titania has been idealized over the centuries. For Carter the fairy world Oberon dominates is nothing other than oppressive patriarchal society. Whereas the fairy queen Titania becomes submissive to Oberon in the play, Daisy Duck/Titania doesn't in the novel. And Carter transforms the Shakespearean triple marriage plot. The triple wedding arranged by Oberon in the play is mocked and proves never to be accomplished in the novel. Carter exposes what lies behind the scenes, leading to de-romanticizing the play. Carter puts the marginalized daughter's experiences and desires at the heart of Wise Children. In the novel the daughter seeks and longs for paternity. This very action ends up with a comic debunking of paternal power, serves to clear a space for new voices, new visions of a maternal family, and gives the Chances a happier alternative to Shakespearean family romances. Wise Children problematizes the hegemonic accounts of familial and cultural legitimacy. Wise Children criticizes the way in which British imperialism and patriarchy appropriated Shakespeare and cast him as a founding myth in their own image. The collapse of this cultural imperialism is articulated with the fall of Ranulph and Melchior, two patriarchs of the Hazard family, who represent bardolatry and legitimate Shakespearean theatre. Wise Children challenges the long history in which the British have been obsessive in dividing British culture into high and low and fashioning Shakespeare as a symbol of high culture. Carter's re-imagining of Shakespeare shows her affirmation of popular culture, of the rude health of popular language and humor as a long-lasting, effective means of survival, much of which are found in Shakespeare. Smiley's and Carter's rewriting are to surface what have been ignored, left out or suppressed in Shakespeare and Shakespearean criticism. In that sense they are subversive. If rewriting is a process of rereading, reinterpretation, and reconstruction, their rewritings also seek out various meanings of Shakespeare's texts, confirming the openness and presentivensss of Shakespeare. However, they may suppress other voices, with the unwitting result of limiting Shakespearean variety.

아프라 벤(Aphra Behn)의 소설기법 연구 : 『어느 귀족과 그의 처제와의 연애편지』(Love-Letters between a nobleman and his sister)를 중심으로

도해자 韓國外國語大學校 大學院 2007 국내석사

ABSTRACT A Study of Aphra Behn’s Narrative Technique: Love-Letters Between a Nobleman and His Sister Do, Hae Ja Department of English Language and Literature Graduate School Hankuk University of Foreign Studies This thesis examines the pioneering novelistic techniques in Aphra Behn’s Love-Letters Between a Nobleman and His Sister. This work has been completely excluded from the mainstream discourse on the early English novel. It has been regarded an imitation or a mere translation of French immoral romance, Portuguese Letters. Yet, as my thesis will show, it is an original writing in that it records a unique development of epistolary narrative technique and becomes a precursive realistic novel. Epistolary novel had been widespread in England since the French publication of Portuguese Letters. It introduced a new language in amatory fiction, a language that was ostentatiously ‘natural’ and implicitly associated with female desire. In this respect Love-Letters can be seen influenced by Portuguese Letters. However, unlike Portuguese Letters, Ben's novel narrates a story through interchanges between characters. It allows characters to tell his or her own story, making the narration more lively and authentic. This technique anticipates the double correspondence method in Richardson's Clarissa. Part Ⅰ of Love-Letters is the first original English novel written entirely in epistolary form. In the second part of Love-Letters, Behn shifts her narrative form from a purely epistolary form to a combination of third person narrative and letters. The third person narrator always appears after every one or two letter(s), and tells readers as in an aside in drama the letter recipient's reaction and emotion which cannot be fully told in letters. It is essential in epistolary novel that main events are presented in letters, and Part Ⅱ follows the rule. The narration supplements the letters, not playing the main role. This kind of combined narratives was unique in the history of English novel. The genre of Love-Letters allows us to regard the work as a realistic novel. Behn claimed ‘true’ historicity of her work through the dedication and the argument of Part Ⅰ, the title of Part Ⅱ, and the narrator of Part Ⅲ. Her claim to historicity shows the anxiety of fictional narratives. The late seventeenth century underwent the intensified request for empirical real-life depiction. Francis Bacon's principles of exact observation, measurement, and of inductive reasoning, refined by Descartes, made possible major advances in physical sciences. The progress of science changed the paradigm of epistemology. It hit hard at the supernatural, improbable, and fictional narratives. Behn's claim to historicity can be understood related to the changed paradigm of epistemology. Love-Letters gives vivid expression to varying emotions and moods. It has many episodes described in the lively and spontaneous manner. The dramatic quality, the interplay of wits, the suggestion of background and the urgency of the events narrated certainly anticipate the Richardsonian novel. Behn's experiment with the novel in letters must have influenced the later development of the English novel.