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연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
논문 기본 정보
- 자료유형
- 학술저널
- 저자정보
- 발행연도
- 2001.6
- 수록면
- 363 - 400 (38page)
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초록· 키워드
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Helping our students to see the power of Shakespeare's comedies to evoke complex feeling is to me an important goal. Thus this essay argues that a Hollywood romantic film with which our college students are familiar, a romantic comedy, Sabrina whose idiom they recognize, understand, and have themselves responded to, can help them comprehend the emotional and critical impact All's Well That Ends Well, one of Shakespeare's comedies, might have in performance or reading. The use of the film makes that recognition and understanding clearer, this essay suggests, because the students have experienced, naturally in their encounter with the film, analogous feeling themselves. I propose that what we value in the romantic comedy film (feeling the ultimate satisfaction of the desires it has raised and frustrated from the outset) is just what we value in the Shakespeare's comedy, even though Shakespeare only does in a less accessible way than what Hollywood does.
After proving the generic and emotional similarities between Sabrina and All's Well That Ends Well, the essay addresses more seriously the question of how the romantic love stories depicted in the two works relate, respectively, to the patriarchal cultures and class relationships of each period, the age of late capitalism and the early Modem age. That is, this essay focuses on the complex mechanisms through which romantic emotions intersect with the culture, the economy, and the social organization of each period. With this analytic frame, this article then shows that as desiring subjects and manipulative heroines, both Sabrina in Sabrina and Helena in All's Well That Ends Well transgress the patriarchal boundary of gender and advance beyond the limit of class. But as girls who desperately want a man of power and wealth in the patriarchal society, this article continues to argue, the two girls serve the interests of patriarchy and thus situate themselves safely within its structures. This essay concludes that they attempt to legitimize the patriarchal culture as much as challenge it; they are subversive only in the "name, and not the thing."
After proving the generic and emotional similarities between Sabrina and All's Well That Ends Well, the essay addresses more seriously the question of how the romantic love stories depicted in the two works relate, respectively, to the patriarchal cultures and class relationships of each period, the age of late capitalism and the early Modem age. That is, this essay focuses on the complex mechanisms through which romantic emotions intersect with the culture, the economy, and the social organization of each period. With this analytic frame, this article then shows that as desiring subjects and manipulative heroines, both Sabrina in Sabrina and Helena in All's Well That Ends Well transgress the patriarchal boundary of gender and advance beyond the limit of class. But as girls who desperately want a man of power and wealth in the patriarchal society, this article continues to argue, the two girls serve the interests of patriarchy and thus situate themselves safely within its structures. This essay concludes that they attempt to legitimize the patriarchal culture as much as challenge it; they are subversive only in the "name, and not the thing."
목차
Ⅰ. 여는 말
Ⅱ. 낭만적 사랑과 결혼, 그리고 그 관람의 쾌락
Ⅲ. 『사브리나』를 통해본 낭만적 사랑의 이데올로기
Ⅲ. 『끝이 좋으면 다 좋다』- 침범과 협상으로서의 사랑과 결혼
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Abstract
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