스펙터클에 대한 매혹과 혐오: 빅토리아 시대 댄디의 사회학 = Attraction and Aversion to Spectacle: The Sociology of a Victorian Dandy

다국어 초록 (Multilingual Abstract)

This paper examines the cultural map of victorian society related to the rise of dandyism and aims to open a new perspective on such issues in victorian literature as social class, gender, and visibility. The dandy in nineteenth century England was an upper class young man who tried to make himself a spectacle- a calculated self-presentation to an imagined gaze - and, by doing so, to manifest visually a claim to cultural authority that would resist the ever more powerful reign of the marketplace and bourgeois respectability. Due to the cultural opposition of theatricality and visibility in victorian England dominated by the middle class ideology, the dandy became the grotesque icon of an outworn aristocratic ethos, a figure of self - absorbed parasitic, purely ornamental existence. For the displacement of an aristocratic or dandiacal idleness, Carlyle evokes a distinctively bourgeois heroism founded on a self-forgetful devotion to productive labor. Despite Carlyle`s pervasive resistance to a dandy, with increasing wealth, the middle class were eager to follow the lifestyles of a fashionable and sophisticated dandy, and the cult of dandyism in victorian society was indebted to the middle-class`s emulation of the upper classes. The rise of spectacle in victorian society was exemplified by the Exhibition of 1851, a spectacle demonstrating British supremacy and celebrating the prodigious progress achieved by Britain. The event, at the same time, placed the commodity at the center of Enghsh cultural life and, with the spectacular representation of various commodities in the halls of the Crystal Palace, the art of modem advertising was born.