파괴 의지로서의 죽음 본능 탐색—<실비아>와 『종 항아리』의 실비아 플라스와 에스더 그린우드의 사례를 중심으로 (A Study of Death Instinct as a Will to Destruction—with Cases of Sylvia Plath and Esther Greenwood in Sylvia and The Bell Jar)

서지정보

· 발행기관 : 문학과영상학회
· 수록지 정보 : 문학과 영상 / 14권 / 3호 / 773 ~ 804페이지
· 저자명 : 임정명

초록

Death instinct which is understood as a direct will to destruction by Jacques Lacan is distinctively suited for Sylvia Plath’s instinct for suicide because of the inherent potential for rebirth into another Other and life. Lacan’s death instinct, in so far as it works as a will to make a fresh start, is differentiated from Sigmund Freud’s death instinct which is basically a death drive to return to a state of equilibrium of the inanimate sphere. In Sylvia, Christine Jeffs as a director made an intentional fallacy in reading Plath’s death instinct as a case of Freudian death drive concluding the genuine cause of her suicide as the failure of her marriage life. Sylvia Plath underlined her death instinct as a creative will in her representative poem, “Lady Lazarus” and her only biographical novel, The Bell Jar as well as in her actual life. In The Bell Jar, through Esther Greenwood’s will to face and overcome the conflicts incurred by the gap between the subject and the Other, Plath impressively depicted a woman who had the great gift of being reborn to live a new life. By tracing Esther Greenwood’s ceaseless efforts to internalize the Other into her ego, in comparison with Plath’s biographical details reduced and distorted by Jeffs, this paper attempts to verify that Plath’s death instinct works as a will to create a libertarian spirit within her self.

영어초록

Death instinct which is understood as a direct will to destruction by Jacques Lacan is distinctively suited for Sylvia Plath’s instinct for suicide because of the inherent potential for rebirth into another Other and life. Lacan’s death instinct, in so far as it works as a will to make a fresh start, is differentiated from Sigmund Freud’s death instinct which is basically a death drive to return to a state of equilibrium of the inanimate sphere. In Sylvia, Christine Jeffs as a director made an intentional fallacy in reading Plath’s death instinct as a case of Freudian death drive concluding the genuine cause of her suicide as the failure of her marriage life. Sylvia Plath underlined her death instinct as a creative will in her representative poem, “Lady Lazarus” and her only biographical novel, The Bell Jar as well as in her actual life. In The Bell Jar, through Esther Greenwood’s will to face and overcome the conflicts incurred by the gap between the subject and the Other, Plath impressively depicted a woman who had the great gift of being reborn to live a new life. By tracing Esther Greenwood’s ceaseless efforts to internalize the Other into her ego, in comparison with Plath’s biographical details reduced and distorted by Jeffs, this paper attempts to verify that Plath’s death instinct works as a will to create a libertarian spirit within her self.

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