재형상화의 연쇄: 리쾨르의 삼중 모방론으로 읽는 울프-커닝햄-돌드리 = The Chain of Refiguration: Reading Woolf-Cunningham-Daldry through Ricoeur’s Triple Mimesis

다국어 초록 (Multilingual Abstract)

This article examines the chain of creative reception linking Virginia Woolf’s Mrs. Dalloway, Michael Cunningham’s The Hours, and Stephen Daldry’s film adaptation of the same title through Paul Ricoeur’s theory of triple mimesis. Against readings that treat this sequence as a matter of intertextuality or adaptation fidelity, the article argues that Ricoeur’s framework can be productively extended in two directions: first, mimesis III (refiguration) need not remain a private, inward experience but can be externalized as new creative production, generating what this article calls a “chain of refiguration”; second, mimesis I must be supplemented by the concept of “literary pre-understanding”—the internalized literary sensibility that enables a reader to become, in turn, a new author. Close readings of the flower motif, Daldry’s cross-cutting, Philip Glass’s musical deidentification, and the film’s added dialogue demonstrate how each successive recipient transforms rather than reproduces its source text. The article further argues, drawing on Michael LeBlanc’s analysis of sacrificial melancholia, that this chain of refiguration is not ideologically neutral: Ricoeur’s “healthy circle,” when extended to cultural transmission, must account for whose suffering enables whose creative renewal.