『자에는 자로』와 『정숙한 창녀 2부』의 권위 = 공작 인물 형상화를 중심으로

다국어 초록 (Multilingual Abstract)

The Honest Whore Part 2 by Dekker and Measure for Measure by Shakespeare are comparable in many ways, as both plays dramatize how a society responds to social disruption. Among others, main actions of both plays are triggered by dramatized versions of James’s proclamation to clean out the London suburbs right after his ascension to the English throne in 1603. In addition, both of them represent sexual transgression as a primary cause of social disorder. However, the ways each play tackles the social problems are quite different. At the center of the difference lies how each ruler’s authority is constructed and exerted. Shakespeare’s duke is a ruler with absolute power and at the center of every authority in the state. His concern is keeping his subjects and country in order. Even if his authority is sometimes problematized, there is no denying that he is an efficient ruler building an absolute authority by his own means and maneuvers. On the other hand, Dekker’s duke is close to a Machiavellian ruler in that he wields his power more arbitrarily to further his daughter’s interests. Orlando Friscobaldo, an ordinary civilian, takes his place and plays the part of problem-solver by disguising himself, coordinating the relationship among characters, and distributing rewards and punishments according to their virtue and misdeeds. However, his solution must be finally ratified by a ruler with supreme power. Interestingly, Dekker implies that a ruler’s authority must be supported by a civic institution as well as his subjects’ integrity by setting his final scene in Bridewell, a civic house of correction. In summary, the difference in the characterization of dukes helps audience to understand Shakespeare’s and Dekker’s ideological orientation towards the way social problems of their age should be tackled.

목차 (Table of Contents)

• Ⅰ. 제임스 1세의 교외 일소령(1603년)의 극화
• Ⅱ. 지배자의 권위?빈센시오와 트레밧찌
• Ⅲ. 사회의 질서 회복을 위한 군주의 역할
• 인용문헌
• Abstract

참고문헌 (Reference)

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2 Mulholland, Paul, "Thomas Middleton: The Collected Works" Clarendon Press 280-285, 2007

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4 Dekker, Thomas, "The Wonderful Year. Three Elizabethan Pamphlets" George G. Harrap 160-207, 1951

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6 Mullaney, Steven, "The Place of the Stage: License, Play, and Power in Renaissance England" U. of Michigan P 1995

7 Williamson, Marilyn, "The Patriarchy of Shakespeare’s Comedies" Wayne State UP 1986

8 Finlay, Roger, "The Making of the Metropolis: London 1500-1700" Longman 37-59, 1986

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10 Dekker, Thomas, "The Honest Whore I & II. London: John Pearson York Street Covent Garden, 1873" Kessinger Legacy 1873

11 Dollimore, "Shakespeare, Cultural Materialism, Feminism and Marxist Humanism" 21 (21): 471-493, 1990

12 Tennenhouse, Leonard, "Power on Display: The Politics of Shakespeare’s Genres" Methuen 1986

13 Dollimore, Jonathan, "Political Shakespeare: New Essays in Cultural Materialism" Manchester UP 72-87, 1985

14 Lever, J. W, "Measure for Measure. The Arden Shakespeare" Methuen 11-98, 1965

15 Shakespeare, William, "Measure for Measure" Methuen 1965

16 Twyning, John, "London Dispossessed: Literature and Social Space in the Early Modern City" St Martin’s 1998

17 Hoy, Cyrus, "Introductions, Notes, and Commentaries to Texts in The Dramatic Works of Thomas Dekker" Cambridge UP 1979

18 Champion, Larry S, "From Melodrama to Comedy: A Study of the Dramatic Perspective in Dekker’s The Honest Whore, Part I and II" 69 (69): 192-209, 1972

19 Griffiths, Paul, "Contesting London Bridewell, 1576-1580" 42 (42): 283-315, 2003

20 Howard, Jean E., "A Companion to Shakespeare" Blackwell 297-310, 1999

21 Archer, Ian, "A Companion to Renaissance Drama" Blackwell 68-82, 2002