동기간 근친상간―죄악인가, 사랑의 변용인가: 존 포드의 『안타깝게도 그녀가 화냥년이라니』를 중심으로 (Sibling Incest―Offense or Transformed Love: Focusing on ‘Tis Pity She's a Whore by John Ford’)

서지정보

· 발행기관 : 한국현대영어영문학회
· 수록지 정보 : 현대영어영문학 / 54권 / 3호 / 67 ~ 92페이지
· 저자명 : 류춘희

초록

Love narrative originates with humankind. Incest narrative exists behind, which perverse offense or transformed love assuming disfigured, though banal but fervent as much as love itself. This paper examines incest, particularly sibling incest, focusing on John Ford’s play ‘Tis Pity She’s a Whore and comments on two other figures assumed sibling incest in Manfred and The Sound and the Fury.
Incest has generally denoted sexual activity between persons prohibited due to specified kinship relations. Incest taboo has been an example of a universal aspect of human culture, but on which perspectives varied from cultures have been relative and arbitrary. Sibling incest, which is prevalent compared to other types of incest, has been regarded as both normal and acceptable by persons directly/voluntarily involved, even though it has been considered reverse in the norms and the values of the wider society of which they were a part. Ford sees sibling incest as some emotional state, signalling his interest in exploring the relativity of even apparently absolute moral standards. Giovanni is just Ford’s inspired explorer in a morally muddy ‘normal’ world.
Giovanni, who loves his own sister, constantly insists that proximity of blood is the best reason for his love. Annabella, whose language is full of repentant words, does not regret for the love itself like her brother. Byron’s protagonist Manfred and Faulkner’s Quentin assume similar attitudes. For all of them, incestuous love is an irresistibly absolute fate, and natural providence in a sense. Their love goes beyond conventional morals of society. The brothers and the sisters are too ‘near’ not to love, but also too ‘near’ to love successfully. Most commentators agree that sibling incest is not inevitably evil in itself, but evil by proscription, different from other types of incest. It can be said of a throw-in of the ascent-descendant incest.

영어초록

Love narrative originates with humankind. Incest narrative exists behind, which perverse offense or transformed love assuming disfigured, though banal but fervent as much as love itself. This paper examines incest, particularly sibling incest, focusing on John Ford’s play ‘Tis Pity She’s a Whore and comments on two other figures assumed sibling incest in Manfred and The Sound and the Fury.
Incest has generally denoted sexual activity between persons prohibited due to specified kinship relations. Incest taboo has been an example of a universal aspect of human culture, but on which perspectives varied from cultures have been relative and arbitrary. Sibling incest, which is prevalent compared to other types of incest, has been regarded as both normal and acceptable by persons directly/voluntarily involved, even though it has been considered reverse in the norms and the values of the wider society of which they were a part. Ford sees sibling incest as some emotional state, signalling his interest in exploring the relativity of even apparently absolute moral standards. Giovanni is just Ford’s inspired explorer in a morally muddy ‘normal’ world.
Giovanni, who loves his own sister, constantly insists that proximity of blood is the best reason for his love. Annabella, whose language is full of repentant words, does not regret for the love itself like her brother. Byron’s protagonist Manfred and Faulkner’s Quentin assume similar attitudes. For all of them, incestuous love is an irresistibly absolute fate, and natural providence in a sense. Their love goes beyond conventional morals of society. The brothers and the sisters are too ‘near’ not to love, but also too ‘near’ to love successfully. Most commentators agree that sibling incest is not inevitably evil in itself, but evil by proscription, different from other types of incest. It can be said of a throw-in of the ascent-descendant incest.

참고자료

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