헨리 제임스의 예술(가): 유령, 테러, 시뮬라크르 (Henry James's Art(ist): Ghost, Terror, Simulacre)

서지정보

· 발행기관 : 한국영미어문학회
· 수록지 정보 : 영미어문학 / 88호 / 37 ~ 65페이지
· 저자명 : 이효석

초록

It is natural that there are many themes of art and artist in Henry James who was interested in the raison d'etre of art in the modern world; the freedom of art and the social rule and its moral regulation, aestheticism and commercialism, the relation of art between politics, etc.
In appearance there seems to be no significant relation between James's aesthetic novels and ghost novels. Art(ist) and ghost, however, play the same role to dismantle and dislocate the center of society: they are a kind of simulacra to represent the social beings marginalized by the bourgeois in the nineteenth century. In The Turn of the Screw, for example, the domestic servants turn out to be the simulacre of the upper class. They are the ghosts of a horror and terror, mirroring the nature and facet of the upper class. Imitating and deriding them, the servants can maintain and destruct the peace and harmony of bourgeois society.
In The Tragic Muse, artists suffer from the conciliation and threat of the center of society. The bourgeois want to use the art(ist) for their practical interests, but when it attempts to reject or deny their managing or governing, they would condemn it the enemy and evil of society and treat it as Homo sacer. It is, however, just the moment when the artists become ghosts of terror and horror. Miriam Rooth, the actress in the novel, is depicted as the Jamesian artist, the simulacre of the unreal superior to the real.

영어초록

It is natural that there are many themes of art and artist in Henry James who was interested in the raison d'etre of art in the modern world; the freedom of art and the social rule and its moral regulation, aestheticism and commercialism, the relation of art between politics, etc.
In appearance there seems to be no significant relation between James's aesthetic novels and ghost novels. Art(ist) and ghost, however, play the same role to dismantle and dislocate the center of society: they are a kind of simulacra to represent the social beings marginalized by the bourgeois in the nineteenth century. In The Turn of the Screw, for example, the domestic servants turn out to be the simulacre of the upper class. They are the ghosts of a horror and terror, mirroring the nature and facet of the upper class. Imitating and deriding them, the servants can maintain and destruct the peace and harmony of bourgeois society.
In The Tragic Muse, artists suffer from the conciliation and threat of the center of society. The bourgeois want to use the art(ist) for their practical interests, but when it attempts to reject or deny their managing or governing, they would condemn it the enemy and evil of society and treat it as Homo sacer. It is, however, just the moment when the artists become ghosts of terror and horror. Miriam Rooth, the actress in the novel, is depicted as the Jamesian artist, the simulacre of the unreal superior to the real.

참고자료

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