본 논문은 셰익스피어가 후기 로맨스극에서 기존의 가부장적 부녀관계와는 다른 유형의 부녀관계를 보여준 것을 고찰함을 목적으로 한다. 이 극들 속의 아버지들은 초반부 딸들을 유기하거나 강압적인 부성으로 그들을 억압하지만 딸들은 승화된 정신과 내적 성품, 사랑으로 아버지들을 용서하고 가족들의 화해와 재결합을 유도한다. 셰익스피어는 딸들을 주체적이고 아버지들의 아니마적 요소가 투사된 인물로 그려냄으로써 기존의 부녀관계와는 달리, 아버지들을 치유하고 집으로 귀환하게 만드는 전복된 부녀관계를 제시한다. 딸과의 의사소통을 ...
본 논문은 셰익스피어가 후기 로맨스극에서 기존의 가부장적 부녀관계와는 다른 유형의 부녀관계를 보여준 것을 고찰함을 목적으로 한다. 이 극들 속의 아버지들은 초반부 딸들을 유기하거나 강압적인 부성으로 그들을 억압하지만 딸들은 승화된 정신과 내적 성품, 사랑으로 아버지들을 용서하고 가족들의 화해와 재결합을 유도한다. 셰익스피어는 딸들을 주체적이고 아버지들의 아니마적 요소가 투사된 인물로 그려냄으로써 기존의 부녀관계와는 달리, 아버지들을 치유하고 집으로 귀환하게 만드는 전복된 부녀관계를 제시한다. 딸과의 의사소통을 가로 막는 아버지들의 오해, 논쟁, 편견은 그들의 무의식을 장악하여 부녀관계의 고통스런 갈등을 유발한다. 딸들은 아버지 세대의 여성에 대한 가부장적인 사고방식으로 인해 절망, 좌절하는 상황에서도 아버지에 대한 사랑을 저버리지 않고 구원하는 관용과 담대함을 보여준다. 그들의 그런 성향은 모성과 여성적 특질에서 파생되어, 부녀관계의 진정한 가치를 구현해낸다. 심리적이고 정신분석적인 관점에서 보면, 부녀관계의 조화를 모색하는 딸들의 이러한 창조적인 심리는 부녀 관계를 새롭게 수정된 형태로 재탄생시킨다. 따라서 후기로맨스극의 심리적인 분석은 단순히 딸의 여성성을 넘어 인간 의식의 심층을 탐구하여 부녀관계의 균열과 화해의 과정을 심오하게 고찰하게 한다. 셰익스피어가 그린 이런 딸의 이미지는 당대 여성관과 대단히 상충되고, 대단히 진보적으로 보인다. 셰익스피어가 말기에 집중적으로 이런 작품들을 집필한 것도 주목할 만하다. 그래서 본 논문은 당대의 보편적 젠더 편견을 넘어서 진정한 젠더 특징에 대한 분석을 하고 있는 셰익스피어의 통찰력에 주목하여 심리적이며 정신분석 측면에서 후기 로맨스극을 새롭게 제시하였다.
본 논문은 셰익스피어가 후기 로맨스극에서 기존의 가부장적 부녀관계와는 다른 유형의 부녀관계를 보여준 것을 고찰함을 목적으로 한다. 이 극들 속의 아버지들은 초반부 딸들을 유기하거나 강압적인 부성으로 그들을 억압하지만 딸들은 승화된 정신과 내적 성품, 사랑으로 아버지들을 용서하고 가족들의 화해와 재결합을 유도한다. 셰익스피어는 딸들을 주체적이고 아버지들의 아니마적 요소가 투사된 인물로 그려냄으로써 기존의 부녀관계와는 달리, 아버지들을 치유하고 집으로 귀환하게 만드는 전복된 부녀관계를 제시한다. 딸과의 의사소통을 가로 막는 아버지들의 오해, 논쟁, 편견은 그들의 무의식을 장악하여 부녀관계의 고통스런 갈등을 유발한다. 딸들은 아버지 세대의 여성에 대한 가부장적인 사고방식으로 인해 절망, 좌절하는 상황에서도 아버지에 대한 사랑을 저버리지 않고 구원하는 관용과 담대함을 보여준다. 그들의 그런 성향은 모성과 여성적 특질에서 파생되어, 부녀관계의 진정한 가치를 구현해낸다. 심리적이고 정신분석적인 관점에서 보면, 부녀관계의 조화를 모색하는 딸들의 이러한 창조적인 심리는 부녀 관계를 새롭게 수정된 형태로 재탄생시킨다. 따라서 후기로맨스극의 심리적인 분석은 단순히 딸의 여성성을 넘어 인간 의식의 심층을 탐구하여 부녀관계의 균열과 화해의 과정을 심오하게 고찰하게 한다. 셰익스피어가 그린 이런 딸의 이미지는 당대 여성관과 대단히 상충되고, 대단히 진보적으로 보인다. 셰익스피어가 말기에 집중적으로 이런 작품들을 집필한 것도 주목할 만하다. 그래서 본 논문은 당대의 보편적 젠더 편견을 넘어서 진정한 젠더 특징에 대한 분석을 하고 있는 셰익스피어의 통찰력에 주목하여 심리적이며 정신분석 측면에서 후기 로맨스극을 새롭게 제시하였다.
This study examines the united empathy between fathers and daughters in Shakespeare’s late romances based on the psychoanalytic and psychological influences of Shakespearean studies. In terms of feministic and psychoanalytic approaches to literary studies, the daughters with maternity and femininity...
This study examines the united empathy between fathers and daughters in Shakespeare’s late romances based on the psychoanalytic and psychological influences of Shakespearean studies. In terms of feministic and psychoanalytic approaches to literary studies, the daughters with maternity and femininity in Shakespeare’s late romances exert influences on their fathers, who in turn recover themselves and return home, symbolically and actually as well. The psychological analysis of the late romances based on not only daughters’ motherhood but also the other protagonists’ consciousness, leads to a new understanding of father-daughter relationship. In Pericles, to begin with, Pericles perceives unconsciously an Oedipus Complex betraying Antiochus’s inner inclination as his psychological drive. Shakespeare does nothing other than conjure up an Oedipus Complex not as a mother-complex between a mother and a son but as a form of father-daughter relationship. It is inferred that Pericles’s oppressed incestuous desire is revealed shortly after Marina is born. Pericles, however, seeks to confront the fear for the unconscious incest to his daughter through his painful agony of making a perilous voyage. Marina who played a role like an exorcist at a brothel in Mytilene expels Pericles’s fear using a language when united. Marina, Pericles’s restorer, makes his incestuous suffering sublimate and simultaneously him recovered from the painful self-castration In Cymbeline, likewise, Shakespeare emphasizes the daughter’s divine ability of restoring the demolished paternity in a patriarchal society. Cymbeline’s inner logos which used to be the reflection of fatherhood is lost and destroyed by his new wife due to his lack of insight and foolishness. The fact that Cymbeline lost his two sons two decades ago induces continually his inner, recurrent repressions. Also, Cymbeline’s objection to Imogen’s marriage leads to compel the separation between them. Nevertheless, Imogen grown up under such a submissive social system rejects Cymbeline who used to be her archetype of domination, which ironically enables her to have the elevated consciousness and reach the process of individuation. Eventually through the process of individuation, Imogen realizes her eros and logos, in other words, in terms of reconfirmation as both her inner sanctuary and self-recognition. Ultimately her sublimated consciousness makes Cymbeline’s lost sons return to the British kingdom and has Cymbeline attain the awareness of the true selfhood in manifold ways. In The Winter’s Tale, on the other hand, Shakespeare renders the protagonists’ agony the premise of reconciliation by achieving their highly developed consciousness. Leontes’s guilty conscience towards Hermione and Perdita disappears gradually after he experiences a consistent separation for many years in an anguished conscience. Namely, his psychological salvation is achieved not owing to the self-power on which his psyche depends, but owing to his deserted daughter with a great maternity in metaphorical terms. Perdita, who is a mother archetype expresses the affection for her parents such as indicated in the Demeter myth symbolically. Her mythological symbolism relates to the characteristic of converted consciousness, which a daughter like their mother searches for them and restores the broken bond of family. Perdita saves Leontes who was stuck in the polarity of love and hatred. Then in The Tempest, for the purpose of bringing about a reconciliation, Shakespeare suggests Miranda as figure of redemption for evil that Prospero committed on the island. Prospero who wants to avenge himself on his enemy is dominated by involving the dualism of good and evil. In fact, Prospero intends to project his ideal feminine disposition to Miranda. In psychological context, Miranda’s transformative power is a primary trait as an anima, which leads Prospero to have his recognizable inner self and concentrate on an elevated psychic life that is not subject to be repressed. His projection contains something of which his selfhood is able to maintain an unambiguous love for his daughter. Miranda functions as Prospero’s anima figure and represents definite vitality of his self. Though the daughters’ unconscious comprises the repressed traits originating in deserted or life-threatening situations, they overcome their despair and frustration, and present their boldness. As the Shakespearean pattern in the selected four romances is not about the fall of fathers but about their restoration, fathers are revived out of their symbolic death and attain the psychic equilibrium of their lives owing to their daughters’ love.
This study examines the united empathy between fathers and daughters in Shakespeare’s late romances based on the psychoanalytic and psychological influences of Shakespearean studies. In terms of feministic and psychoanalytic approaches to literary studies, the daughters with maternity and femininity in Shakespeare’s late romances exert influences on their fathers, who in turn recover themselves and return home, symbolically and actually as well. The psychological analysis of the late romances based on not only daughters’ motherhood but also the other protagonists’ consciousness, leads to a new understanding of father-daughter relationship. In Pericles, to begin with, Pericles perceives unconsciously an Oedipus Complex betraying Antiochus’s inner inclination as his psychological drive. Shakespeare does nothing other than conjure up an Oedipus Complex not as a mother-complex between a mother and a son but as a form of father-daughter relationship. It is inferred that Pericles’s oppressed incestuous desire is revealed shortly after Marina is born. Pericles, however, seeks to confront the fear for the unconscious incest to his daughter through his painful agony of making a perilous voyage. Marina who played a role like an exorcist at a brothel in Mytilene expels Pericles’s fear using a language when united. Marina, Pericles’s restorer, makes his incestuous suffering sublimate and simultaneously him recovered from the painful self-castration In Cymbeline, likewise, Shakespeare emphasizes the daughter’s divine ability of restoring the demolished paternity in a patriarchal society. Cymbeline’s inner logos which used to be the reflection of fatherhood is lost and destroyed by his new wife due to his lack of insight and foolishness. The fact that Cymbeline lost his two sons two decades ago induces continually his inner, recurrent repressions. Also, Cymbeline’s objection to Imogen’s marriage leads to compel the separation between them. Nevertheless, Imogen grown up under such a submissive social system rejects Cymbeline who used to be her archetype of domination, which ironically enables her to have the elevated consciousness and reach the process of individuation. Eventually through the process of individuation, Imogen realizes her eros and logos, in other words, in terms of reconfirmation as both her inner sanctuary and self-recognition. Ultimately her sublimated consciousness makes Cymbeline’s lost sons return to the British kingdom and has Cymbeline attain the awareness of the true selfhood in manifold ways. In The Winter’s Tale, on the other hand, Shakespeare renders the protagonists’ agony the premise of reconciliation by achieving their highly developed consciousness. Leontes’s guilty conscience towards Hermione and Perdita disappears gradually after he experiences a consistent separation for many years in an anguished conscience. Namely, his psychological salvation is achieved not owing to the self-power on which his psyche depends, but owing to his deserted daughter with a great maternity in metaphorical terms. Perdita, who is a mother archetype expresses the affection for her parents such as indicated in the Demeter myth symbolically. Her mythological symbolism relates to the characteristic of converted consciousness, which a daughter like their mother searches for them and restores the broken bond of family. Perdita saves Leontes who was stuck in the polarity of love and hatred. Then in The Tempest, for the purpose of bringing about a reconciliation, Shakespeare suggests Miranda as figure of redemption for evil that Prospero committed on the island. Prospero who wants to avenge himself on his enemy is dominated by involving the dualism of good and evil. In fact, Prospero intends to project his ideal feminine disposition to Miranda. In psychological context, Miranda’s transformative power is a primary trait as an anima, which leads Prospero to have his recognizable inner self and concentrate on an elevated psychic life that is not subject to be repressed. His projection contains something of which his selfhood is able to maintain an unambiguous love for his daughter. Miranda functions as Prospero’s anima figure and represents definite vitality of his self. Though the daughters’ unconscious comprises the repressed traits originating in deserted or life-threatening situations, they overcome their despair and frustration, and present their boldness. As the Shakespearean pattern in the selected four romances is not about the fall of fathers but about their restoration, fathers are revived out of their symbolic death and attain the psychic equilibrium of their lives owing to their daughters’ love.
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