“용감한 사랑이여, 나의 품 안에서 당신의 이탈리아를 만드소서”: 말로우가 다시 쓰는 『이니어드』

한예림 ( Yehrim Han ) 한국영미문학페미니즘학회 2020 영미문학페미니즘 Vol.28 No.1

Christopher Marlowe’s Dido, Queen of Carthage has been widely accepted as a critique on Virgil’s perpetuation of Roman imperial ideology. Marlowe’s extensive characterization of Dido as a female victim of Aeneas’ imperial mission has been considered anti-Virgilian and following instead the Ovidian tradition. Most scholarly discussions of Marlowe’s Dido have focused their comparisons of the play with Book 1, 2, and 4 of The Aeneid, because Dido dies in Book 4. However, I revisit the later half of The Aeneid, highlighting Aeneas’ peculiar emotional attachment to Pallas in the funeral, as expressed by his gesture of covering Pallas’ dead body with Dido’s robe. Reading Pallas as Dido’s double, I will show that Aeneas’ private passion for Dido, which has been subdued by his imperial mission, finds a way to be released and contained by his appropriation of Dido’s robe. Marlowe’s Dido, however burns the robe and thus repudiates Virgil’s embrace of imperialist values. Moreover, Marlowe’s different treatment of Dido’s robe pertains to the wider theme of empire and liberty. I argue that the liberty Marlowe portrays through Dido comments on the Elizabethan discourse of early imperialism, especially on its civic humanist endorsement of public duty over private passion.

셰익스피어의 ‘방탕한’ 왕자 : 『헨리 4세』 1부에서 읽는 투자와 개혁의 서사

한예림 ( Han Yehrim ) 영미문학연구회 2021 안과 밖 Vol.- No.51

This paper examines Shakespeare’s History of Henry the Fourth (1 Henry IV) in the light of Prince Hal’s prodigal narrative of “investment” and “reformation” displaying the salient feature of early capitalist reconception of “loss” as potential profit. The etymology of the word “invest,” which is now commonly understood in the economic sense, originates from the word “vest,” i.e. “to clothe.” In Shakespeare’s period, it meant to vest a person with a position or power, in other words, to appoint a person of a certain political office. Hal’s prodigal narrative leading toward his succession of the crown involves this political economy of “invest” derived from the expansion of the word: from its initial political usage to incorporate economic meaning, as in “to invest” money for future profit. This paper especially reconsiders Prince Hal’s political prudence to perform “prodigality” and his reckless adventure against his double Hotspur as a form of “investment”, an act of risk-taking despite the future uncertainty. I aim to contextualize the meaning and the process of prince Hal’s narrative of “stray and return” in the literary history of prodigals, ultimately to demonstrate that the prodigal prince’s audacious ethos of risk-taking venture is inextricably linked to post-Reformation skepticism.

프로스페로의 마술과 스테파노의 술: 『템페스트』에 나타난 초기 식민주의의 두 얼굴

한예림(Yehrim Han) 한국셰익스피어학회 2019 셰익스피어 비평 Vol.55 No.2

This paper demonstrates two aspects of early English colonial discourse by examining the function of Prospero’s magic and Stephano’s wine in The Tempest. Against the critics who disapprove of accentuating colonial context of the play, this paper focuses on how the play actually participates in conceptualizing early colonialist idea at the level of discourse. Prospero, the magus of the play controls over the island by practicing magic. His magic, I argue, endorses civic humanist aspiration to construct an ideal commonwealth in the island where he tries to ‘educate’ his former enemies and Caliban, the ‘savage’ native, ultimately to actualize his utopian idea through the marriage of Miranda and Ferdinand. However, Prospero’s humanist project reveals its limit when his attempt to ‘civilize’ Caliban by language education only resulted in his curse and revolt against Prospero. Moreover, Caliban comes to conspire against Prospero together with Stephano and Trinculo. Making Caliban drink his wine to tame him with potential commercial purpose in his mind, Stephano opens a carnivalesque space in the island, which results in the bold attempt to overthrow Prospero and abuse Miranda. This paper reads the confrontation between Prospero’s humanist drive and Stephano’s materialist threat as a conflict within the colonialist discourse projecting class relations in English early colonial expeditions, especially when the values of early colonial venturers and lower laborers clash.

제인과 로체스터의 펀딘: 『제인 에어』에서 읽는 식민주의와 가정성의 상관관계

한예림 ( Yehrim Han ) 한국방송통신대학교 통합인문학연구소 2023 통합인문학연구 Vol.15 No.1

본 논문은 『제인 에어』 의 버싸를 제인의 억압된 자아로 읽는 기존 비평의 한계를 지적하면서 식민주의 담론의 복합적인 방정식 속에서 버싸를 이해하고 이를 통해 제인과 로체스터의 결합의 의미를 재고한다. 작품은 존 에어, 로체스터, 그리고 세인트 존을 통해 당대 식민주의의 다양한 서사의 결을 탐구한다. 여기서 로체스터는 물질적인 이윤, 혹은 종교적 이데올로기를 위시로 식민지 사업에 뛰어 든 존 에어나 세인트 존과는 달리 그곳에 있는 크리올 여성과 결혼을 통해 식민주의 담론에 관여한다. 바로 그 점에서 로체스터의 식민주의 서사는 버싸와의 관계를 경유하여 생각해볼 수 있다. 본 논문은 식민주의 담론에 내재한 분열적 요소에 대한 호미 바바의 통찰을 바탕으로 버싸의 광기를 로체스터의 불안, 즉 식민 담론의 자체적인 분열이 투사된 것으로 해석한다. 나아가 제인과 버싸가 공명하는 부분을 특히 주목하는데, 결국 제인과 로체스터가 서로 마치 하나의 영혼을 공유하고 있다고 느끼는 그 부분이 바로 제인과 로체스터의 교집합인 버싸라는 타자의 자리가 된다고 해석한다. 이들의 결합은 버싸를 배제하기 보다 오히려 그녀를 받아들이고 체화하여 소위 “억압된 것의 귀환”이 이루어질 때야 비로소 가능해지는 것으로 볼 것이다. 이러한 해석을 통해 궁극적으로 쏜필드, 무어하우스를 거쳐 마지막 펀딘에서 만들어지는 제인과 로체스터의 가정의 의미를 모색한다. Reconsidering existing criticisms of Jane Eyre that comprehend Bertha as Jane's oppressed self, this paper contextualizes Bertha within complex layers of colonial discourse. Jane Eyre explores issues of gender along with colonialism via three ‘colonialists’: John Eyre, Rochester, and St. John. Although different at first glance, John Eyre and St. John exemplify the two modes of English imperialism: the former as the aspiration for colonial material profit, while the latter represents a manifestation of ‘spiritual’ imperialism. However, not affiliated with any of these, Rochester’s colonial wealth derives from marrying a Creole woman. Colonialism, in Rochester’s case, thus revolves around his issues with Bertha. Taking into account of Homi Bhabha’s study on ambivalence inherent in colonial discourse, this article interprets Bertha's madness as a reflection of Rochester's colonial anxiety. Considering the resonance between Jane and Bertha, as well as how Jane and Rochester seem to share a soul with each other, I interpret Bertha as an intersection between Jane and Rochester. Their union becomes only possible when Bertha is accepted and embodied, thus resolving the issue of so-called “return of the oppressed.” This reinterpretation of Bertha ultimately illuminates Jane and Rochester's domesticity in Ferdean.

바라바스의 과도한 복수와 페르네즈의 공공선: 『몰타의 유대인』에 재현된 국가이성

한예림(Yehrim Han) 한국셰익스피어학회 2023 셰익스피어 비평 Vol.59 No.2

This paper examines the compatibility of Ferneze’s government in The Jew of Malta with the republican concept of the commonwealth, particularly in relation to his discriminatory practices against resident-alien Jews. It aims to determine whether Ferneze’s actions align with republican ideals of defending the public good or whether they exemplify the hypocritical qualities of a tyrant. By contextualizing the play within the early republican idea of the common good, this study challenges the traditional historicization of British republicanism that centers around the English Revolution. Instead, it explores British republicanism prior to the Revolution in the analysis of Barabas’s motivations, the Jewish protagonist. Through examining Barabas’s heinous acts and their alignment with republican discourse in 16th and 17th century England, the paper sheds light on the complex conflict in the play that links Barabas’s desire for revenge and issues of usury. Additionally, it explores how Ferneze’s notion of the commonwealth, central to the play’s narrative, is revealed through the excessive revenge pursued by the Jewish usurer.