기사가 미칠 때 광기, 남성성, 사랑의 문명 = When the Knight Goes Crazy: Madness, Masculinity, and the Civilization of Love

다국어 초록 (Multilingual Abstract)

The Freudian concept of “cultural superego” provides a nice interpretive framework for love madness in the medieval Arthurian romance. In the Prose Lancelot, the initial and foundational branch of the thirteenth-century Old French Lancelot-Grail trilogy, courtly love functions as a cultural superego and the civilization par excellence.
As such, it imposes oppressive demands on the masculine chivalric ego. If more than what Lancelot can endure is demanded of him, “a revolt will be produced in him or a neurosis,” and “he will be made” insane. He will regress to his primitive aggressiveness. This formula is readily applicable to the first two cases of Lancelot’s madness. In his third and last spell of insanity situated near the end of the narrative, however, the civilizing power of love is compromised by the specter of the Grail, and love itself is all but dismissed as madness. This startling shift may indicate the superimposition of an anti-courtly perspective at a later stage of composition, or more likely the ultimate manifestation of the latent yet persistent tension between two conflicting ideologies.As courtly love evolved into western romantic love in the following centuries, the medieval civilization of love contributed much to the construction of the modern heterosexual male subject.

참고문헌 (Reference)

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