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RISS 인기검색어
- 검색키워드
- 저자 : Munjic, Sanda (검색결과 1 건)
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Patriarchal love discourse as a model of perversion: Violence and psychoanalysis
Munjic, Sanda University of California, Berkeley 2004 해외박사(DDOD)
This dissertation studies representations of lovers' suffering from pre-modernity to present in Western culture's fictional and non-fictional love discourses. It simultaneously exposes the repercussions of patriarchal self-conceptualizations of masculine subjectivity for women. Chapter one departs from a study of pre-modern representations of amorous suffering synopsized under the debated term "courtly love." A tracing of the semantics of Aristotelian concepts of activity and passivity from classical antiquity into the twentieth-century psychoanalysis relates pre-modern pathology of erotomania, literary fashion of courtly love and nineteenth century perversion of masochism. The term "suffering subjectivity" is introduced to subsume courtly love and masochism, both highly theatrical forms of behavior that destabilize normative conceptualizations of gender, subjectivity, and power. Chapter two analyzes Andreas Capellanus's The Art of Courtly Love, and Diego de San Pedro's Sermon and Carcel de amor. The last work provides a paradigmatic example of suffering subjectivity or masochism. By effecting an ironic reinterpretation of amorous suffering from lyric poetry to narrative, these texts allow for an analogy between masochism and irony in their respective realms of sexuality and discourse. Chapter three explores Maria de Zayas's La esclava de su amante (Desenganos amorosos) to show how the only Spanish female writer of fiction of the time uses the extant discourses of love. She contests male-authored representations of subjectivity by consigning to her female protagonist the privileged position of suffering previously reserved for the male subject. Chapter four compares Garcilaso de la Vega's Egloga II , Luis de Gongora's Soledades, and Alfred Hitchcocks's film The Birds. By relegating the ancient model of love chase to the motif of hunting of and by birds, these works represent a historical process of evaluating a relationship between gender and suffering. Garcilaso rejects the model of suffering lover's subjectivity in favor of an active model of a Renaissance man of arms and letters. Gongora reaffirms the value of amorous suffering over the active model of masculinity. Hitchcock represents a masochistic female subject gradually turned into a victim of violent male desire. This analysis of patriarchal love discourses reveals a history of representations of suffering subject that eventually displace male suffering with female victimization, a model consolidated in contemporary psychoanalytical theories.
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