의사영웅시와“소설화”— 『머리카락 강탈』을 중심으로 (Mouk-Epic and “Novelization”: Alexander Pope’s The Rape of the Lock)

서지정보

· 발행기관 : 한국영어영문학회
· 수록지 정보 : 영어영문학 / 55권 / 5호 / 865 ~ 883페이지
· 저자명 : 이혜수

초록

The mock-heroic, “the single most characteristic and individual literary
form of the neoclassical era,” as Brean Hammond puts it, epitomizes the
process of the “novelization” of the 18th-century British culture.
Bakhtin mentions that when the novel reigns supreme, almost all the
remaining genres are “novelized”; Hammond borrows the term
“novelization” from Bakhtin and uses it as a “shorthand way of referring
to the cultural forces that render epic anachronistic.” Indebted to
Hammond’s apprehension of novelization, this paper reads Alexander
Pope’s Rape of the Lock in the context of novelization, particularly
focusing on ‘probability,’ ‘contemporaneity’ and ‘domesticity,’ three
important signatures of the novelization of the 18th-century British culture.
First, Sylph as a counterpart of god in epic is presented in The Rape
of the Lock just as a helpless, fictional and irrelevant thing that hardly
affects the empirical world. It indicates how the mock-epic ‘mocks’ the
classical world of ‘epic’ and stands closer to the world of the novel.
Second, Pope’s poem displays an accurate picture of the author’s contemporary
reality, a capital concern of the novel, such as imperialism,
consumer society, commodity fetishism, or reification. Lastly, The Rape
of the Lock lays out the construction of modern gender ideology, another
quintessential interest of the novel, particularly with the fixed female
image of a coquette. It efficiently silences and nullifies Belinda, a typical
coquette, who stands as a threatening force to the ascendent domestic
ideology.

영어초록

The mock-heroic, “the single most characteristic and individual literary
form of the neoclassical era,” as Brean Hammond puts it, epitomizes the
process of the “novelization” of the 18th-century British culture.
Bakhtin mentions that when the novel reigns supreme, almost all the
remaining genres are “novelized”; Hammond borrows the term
“novelization” from Bakhtin and uses it as a “shorthand way of referring
to the cultural forces that render epic anachronistic.” Indebted to
Hammond’s apprehension of novelization, this paper reads Alexander
Pope’s Rape of the Lock in the context of novelization, particularly
focusing on ‘probability,’ ‘contemporaneity’ and ‘domesticity,’ three
important signatures of the novelization of the 18th-century British culture.
First, Sylph as a counterpart of god in epic is presented in The Rape
of the Lock just as a helpless, fictional and irrelevant thing that hardly
affects the empirical world. It indicates how the mock-epic ‘mocks’ the
classical world of ‘epic’ and stands closer to the world of the novel.
Second, Pope’s poem displays an accurate picture of the author’s contemporary
reality, a capital concern of the novel, such as imperialism,
consumer society, commodity fetishism, or reification. Lastly, The Rape
of the Lock lays out the construction of modern gender ideology, another
quintessential interest of the novel, particularly with the fixed female
image of a coquette. It efficiently silences and nullifies Belinda, a typical
coquette, who stands as a threatening force to the ascendent domestic
ideology.

참고자료

· 없음