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논문 기본 정보

자료유형
학술저널
저자정보
저널정보
한국제임스조이스학회 제임스조이스 저널 제임스조이스 저널 제25권 제2호
발행연도
2019.1
수록면
147 - 173 (27page)

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Virginia Woolf’s short fiction “The Duchess and the Jeweller,” published in 1938, has been absent from critical focus partly because the text does not partake in the experimental narrative devices Woolf’s fictions commonly present. The lack of critical attention to the story also comes from its references to Jewishness and its deployment of pervasive racial stereotypes of Jews. This article challenges the critical receptions in which the story is conceived as either a non-experimental and moralistic tale or an Anti-Semitic piece of work. It seeks to demonstrate that the story offers anti-utilitarian imaginations of things, explores a new paradigm of aesthetics, getting beyond the Western overemphasis on optical vision, and thereby, generates multiple thoughts opposing political ideologies propagated in the 1930s. Although the text appears to display signs and images evocative of Jews, such representations serve to reveal Woolf’s self-conscious resistance to political powers, including Fascism, anti-Semitism, and Nazism. Noting that the story engages the trope of smell in order to criticize a wide range of cultural ideologies, from the Western idealization of optical vision to Nazism’s use of visual spectacles, this paper articulates the roles of smell and olfaction presented in “The Duchess and the Jeweller,” and argues that the sense of smell in Woolf’s text is closely associated with the true qualities of things or something naked, the recognition of which is essential for Woolf to reject the lies of political ideologies.

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