“젠틀맨” 루센쇼 길들이기 = 초기근대 영국의 복장담론과 『말괄량이 길들이기』

다국어 초록 (Multilingual Abstract)

A motif of clothing in The Taming of the Shrew serves to function not merely as a comic convention but as a representation of "clothing control" discourses of Elizabethan England. Tracing out the ways in which such discourses developed in the Tudor "Sumptuary Laws" and other contemporary sociological works and moral tracts, this paper establishes a perspective in which the clothing conventions and their attempted regulations are seen to have constituted a site of cultural conflict engendered by the social mobility of the period. At one end of the conflict were the governmental reinforcements of clothing regulations and their moral supporters that sought to maintain traditional status distinction, and guard against economic hazards caused by over-spending on "luxuries." At the other end emerged the "new riches," a class of merchant-citizens, with their aspiration to dress "above" their traditional status and even to "purchase" the status of gentry.
Re-located within this context, the male characters in the Lucentio-Bianca plot, as a group, represent the most active, and problematic, site of social mobility of early modern England; that is, the increasingly flexible boundaries between citizens and gentry. Appellated as "Gentleman," Lucentio in particular embodies the upward traces of social mobility: the eldest son of a rich merchant-citizen ennobled by education and/or inheritance of wealth. Furthermore, dressed in "sumptuous" apparel apparently "above" his status, he becomes a transgressor of the Sumptuary Laws and a target of contemporary moral tracts that specifically denounced the youths of gentry and upper citizenry who studied/sojourned in Italy and brought their habit of conspicuous consumption, as well as their learning in Machiavellism, back home. As a whole, the Padua society in the play is represented by its "rich citizens" and finally characterized by its indulgence in conspicuous consumption. In the midst of social struggle fought between traditional and emergent order of status and corresponding clothing conventions, a contemporary London audience might have found in the "new riches" of Padua a portrait of London merchants and their sons transgressing the traditional social hierarchy and bringing in a new order of the day.

목차 (Table of Contents)

• Ⅰ. “모자를 벗어 던져라”: 복장 모티프와 사회적 맥락
• Ⅱ. 복장담론과 사회적 유동성
• Ⅲ. “젠틀맨” 루센쇼 : 사치금지법을 위반한 상인의 아들
• Ⅳ. 파두아 : 소비지향의 시민사회
• Ⅴ. 결론 : 또 다른 “젠틀맨”
• 인용문헌
• Abstract

참고문헌 (Reference)

1 Steve, "Worlds within Worlds Structures of Life in Sixteenth century" 1989

2 Morris, "The Taming of the Shrew" 1981

3 Aughterson, Kate (ed), "The English Renaissance: An Anthology of Sources and Documents" London: Routledge 1998

4 Palliser, "The Age of Elizabeth England under the later Tudors 1547-1603" 1992

5 Stone, Lawrence, "Social mobility in England, 1500-1700" Past and Present 16-55, 1996

6 Everitt, "Social Mobility in Early Modern England" 56-73, 1966

7 Newman, "Sartorial Extravagance in Early Modern London Univ of Chicago Press" 1991

8 Gurr, Andrew, "Playgoing in Shakespeare's London Second Edition" Cambridge: Cambridge UP 1996

9 Korda, Natasha, "Household Kates: Domesticating Commodities in The Taming of the Shrew" 27 : 109-131, 1996

10 Harrison, "Description of Elizabethan England" 217-383, 1956

11 London, "Costume in England a history of dress to the end of the eighteenth century" 1885

12 "Clothing Control in Early Modern England"

13 Jardine, "'Make thy doublet of changeable taffeta' Still Harping on Daughters Women and Drama in the Age of Shakespeare" The Harvester Press 1983