영국 르네상스 시대 왕권의 이데올로기 초월: 『태풍』에 나타난 남성의 모성화 (A Transcendence of Ideology of Kingship in Early Modern England: Male Mothering in The Tempest)

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초록

Scholars have claimed that The Tempest, along with Shakespeare’s other late romances, likewise participates in a conservative reestablishment of the father as the linchpin of society, burying the mother and validating patriarchy. Stuart repaternalization, though, often took a distinctly transgendered form, one admitting of female influence, that shows up in contemporary political documents and in dramatic texts that focus on witchcraft, such as The Tempest. I argue that The Tempest eventually resuscitates the discourse of the mother within the figure of the father, and that it does so in part through a redistribution of moral value between the gendered figures of the witch and the magician.
The Tempest initially appears to do just what early moderns sometimes did―it kills the troublesome mother figures, leaving only a father. Miranda lives on an island with Prospero, her dead mother a vague memory. Caliban’s mother Sycorax, in Prospero’s language a ‘hag’, has long since been felled by Prospero’s superior magic. The absence of Miranda’s mother and the defeat and death of Sycorax initially seem both an occlusion of maternity and a blow to witchcraft. But in Prospero’s triumph over the witch, he replaces her: parent-figure to Caliban, inheritor of Ariel and supernatural ruler of the island, Prospero functions as Sycorax’s analogue, not her opposite. More surprisingly, his language picks up traces of the motherhood that does not exist on the island. Throughout 1.2, Prospero draws on a rhetoric of maternity.
Blurring the distinctions between motherhood and fatherhood, between feminine witchcraft and masculine sorcery, the maternal patriarch of The Tempest perhaps anticipates the eventual fading of the border between maternal and paternal identities in Western cultures.

영어초록

Scholars have claimed that The Tempest, along with Shakespeare’s other late romances, likewise participates in a conservative reestablishment of the father as the linchpin of society, burying the mother and validating patriarchy. Stuart repaternalization, though, often took a distinctly transgendered form, one admitting of female influence, that shows up in contemporary political documents and in dramatic texts that focus on witchcraft, such as The Tempest. I argue that The Tempest eventually resuscitates the discourse of the mother within the figure of the father, and that it does so in part through a redistribution of moral value between the gendered figures of the witch and the magician.
The Tempest initially appears to do just what early moderns sometimes did―it kills the troublesome mother figures, leaving only a father. Miranda lives on an island with Prospero, her dead mother a vague memory. Caliban’s mother Sycorax, in Prospero’s language a ‘hag’, has long since been felled by Prospero’s superior magic. The absence of Miranda’s mother and the defeat and death of Sycorax initially seem both an occlusion of maternity and a blow to witchcraft. But in Prospero’s triumph over the witch, he replaces her: parent-figure to Caliban, inheritor of Ariel and supernatural ruler of the island, Prospero functions as Sycorax’s analogue, not her opposite. More surprisingly, his language picks up traces of the motherhood that does not exist on the island. Throughout 1.2, Prospero draws on a rhetoric of maternity.
Blurring the distinctions between motherhood and fatherhood, between feminine witchcraft and masculine sorcery, the maternal patriarch of The Tempest perhaps anticipates the eventual fading of the border between maternal and paternal identities in Western cultures.

참고자료

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