지원사업
학술연구/단체지원/교육 등 연구자 활동을 지속하도록 DBpia가 지원하고 있어요.
커뮤니티
연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
논문 기본 정보
- 자료유형
- 학술저널
- 저자정보
- 발행연도
- 2000.6
- 수록면
- 307 - 328 (22page)
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초록· 키워드
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The women in Shakespeare's tragedies come to be viewed as men's property or objects, exemplifying the traditional role of the women. But the male code is disrupted by defiance or uncontrollability of women's quality, open or covert, as we see Cordelia's style of speech, operating as a challenge, Lady Macbeth's attempt to take on a male character, and the desires of Desdemona to break the patriarchal confine.
The tragic heroes then express their frustration or frenzy in the acceptable masculine manner of aggression and violence, as a kind of a defense against their vulnerability, specifically against the femininity. And misogyny and the banishment of the women appear especially in conjunction with an attack on female sexuality. It is characteristic that the women are not only alienated or ignored by the tragic heroes, busy defending themselves, but also excluded from the projected ideals of self-fulfillment. The women in this situation seem determined to withdraw into the acceptable feminine mode of passivity, and to take guilt upon themselves. The revelation of the women's guilt and remorse provides reassurance that they are bound by a traditional, patriarchal morality. The women. who break the rules of female conduct, or who are regarded as the representative of frail womanhood, or the scapegoat who is manipulated by all the men in the play, finally become victims destroyed by the masculine code of male domination. Even the courageous, self-confident, candid, women, such as Cordelia, Desdemona, Ophelia, and even Lady Macbeth in the opening scenes unconvincingly dissolve into the dazed, helpless creatures of the denouement.
Shakespeare's great tragedies requiring patriarchal perspective want the subordination of women and deny the necessity of them in the final phase of the dramatic process. Shakespeare's tragedies make explicit the fact that the women cannot function properly outside of the patriarchal social structure and that the patriarchal ideology cannot withstand the unbridled destructive force of women's nature.
The tragic heroes then express their frustration or frenzy in the acceptable masculine manner of aggression and violence, as a kind of a defense against their vulnerability, specifically against the femininity. And misogyny and the banishment of the women appear especially in conjunction with an attack on female sexuality. It is characteristic that the women are not only alienated or ignored by the tragic heroes, busy defending themselves, but also excluded from the projected ideals of self-fulfillment. The women in this situation seem determined to withdraw into the acceptable feminine mode of passivity, and to take guilt upon themselves. The revelation of the women's guilt and remorse provides reassurance that they are bound by a traditional, patriarchal morality. The women. who break the rules of female conduct, or who are regarded as the representative of frail womanhood, or the scapegoat who is manipulated by all the men in the play, finally become victims destroyed by the masculine code of male domination. Even the courageous, self-confident, candid, women, such as Cordelia, Desdemona, Ophelia, and even Lady Macbeth in the opening scenes unconvincingly dissolve into the dazed, helpless creatures of the denouement.
Shakespeare's great tragedies requiring patriarchal perspective want the subordination of women and deny the necessity of them in the final phase of the dramatic process. Shakespeare's tragedies make explicit the fact that the women cannot function properly outside of the patriarchal social structure and that the patriarchal ideology cannot withstand the unbridled destructive force of women's nature.
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