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논문 기본 정보

자료유형
학술저널
저자정보
김석 (경희대학교)
저널정보
한국영미문학페미니즘학회 영미문학페미니즘 영미문학페미니즘 제29권 제2호
발행연도
2021.9
수록면
5 - 35 (31page)

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The ambiguous conclusion of We Have Always Lived in the Castle has garnered such bleak commentaries as “retreat into insanity,” “intomb[ment]” in domesticity, “fantasy more probable in fiction than in reality,” etc.; even an attempt to find in it “an alternative to conventionally happy endings” ends up getting the short shrift, since “Merricat’s madness” must be admitted however “oddly empowering” in effect. From the perspective of Catherine Malabou’s ontology of plasticity, however, the novel’s ending acquires a new light. Not only exists no ‘outside’ to the oppressive patriarchal system of which Merricat constitutes a part, but it becomes clear by the story’s end that the perimeters of her worldly interaction have changed. By juxtaposing the narrative progress of Jackson’s novel with the transformative evolution of Malabou’s concept of plasticity, my essay traces how the fiction and the philosopher’s key concept illuminate each other. If my “cross-cutting” comparison bears out its metaphoric capacity and shows that both Malabou and Jackson succeed, in the respective realm of philosophy and literature, in intimating the vision of woman as a new subject to come, the result owes to the unrelenting commitment with which the two figures pushed their creative work to its limit.

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