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연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
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This paper aims to examine the otherness of girl, who has the potential to subvert the patriarchical logic of sameness, by analyzing the (de)representations of the eponymous girl within and without Alice. Lewis Carroll’s everlasting children’s classic has been reinterpreted as a multi-layered (non)sensical literary masterpiece and Alice has been (de)represented as various mythical figures from a little angel in the house to a bloody little devil.
To Victorian gentlemen such as the writer Lewis Carroll and the illustrator John Tenniel, Alice was the ideal embodiment of innocent girlhood. To Katie Roiphe, who tried to imaginarily restore Carroll’s missing diary entries supposedly revealing Carroll’s hidden sexual desire in Still She Haunts Me (1991), the girl was objectified as a victim of his pedophile perversity. In the case of Disney’s popular animated version (1951), Alice winded up as an obedient ‘little angel’ for domestic values. In American McGee’s Alice (2000), on the contrary, the girl turned out to be an insane game-character with a bloody knife, killing enemies mercilessly. Alice has also intrigued philosophical debates between the Deleuzian discourse of becoming-girl and the feminists’ emphasis on the historical and bodily specificity of girl.
None of above attempts to capture Alice into their own critical standpoint, however, does not fully represent Alice/girl’s potential to resist the identification of her with anyone or anything. As a subject in progress, doubly suppressed by age and gender but paradoxically having more otherness to differentiate the logic of sameness, Alice/girl unfolds the infinite (non)senses in the (con)text, making herself (de)represented. Developing and transmitting new concepts of identity, madness, name, and (non)sense, the characters such as the Caterpillar, the Cheshire-Cat, Humpty Dumpty, and the Fawn and figures like pawn and crescent help us to examine the process of becoming Alice/girl and her potential otherness.
To Victorian gentlemen such as the writer Lewis Carroll and the illustrator John Tenniel, Alice was the ideal embodiment of innocent girlhood. To Katie Roiphe, who tried to imaginarily restore Carroll’s missing diary entries supposedly revealing Carroll’s hidden sexual desire in Still She Haunts Me (1991), the girl was objectified as a victim of his pedophile perversity. In the case of Disney’s popular animated version (1951), Alice winded up as an obedient ‘little angel’ for domestic values. In American McGee’s Alice (2000), on the contrary, the girl turned out to be an insane game-character with a bloody knife, killing enemies mercilessly. Alice has also intrigued philosophical debates between the Deleuzian discourse of becoming-girl and the feminists’ emphasis on the historical and bodily specificity of girl.
None of above attempts to capture Alice into their own critical standpoint, however, does not fully represent Alice/girl’s potential to resist the identification of her with anyone or anything. As a subject in progress, doubly suppressed by age and gender but paradoxically having more otherness to differentiate the logic of sameness, Alice/girl unfolds the infinite (non)senses in the (con)text, making herself (de)represented. Developing and transmitting new concepts of identity, madness, name, and (non)sense, the characters such as the Caterpillar, the Cheshire-Cat, Humpty Dumpty, and the Fawn and figures like pawn and crescent help us to examine the process of becoming Alice/girl and her potential otherness.
목차
Ⅰ. 신화가 된 소녀, 앨리스
Ⅱ. 앨리스의 (탈)재현
Ⅲ. 앨리스/소녀의 타자성
Ⅳ. 소녀와 주체
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