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논문 기본 정보

자료유형
학술저널
저자정보
손영희 (광운대학교)
저널정보
한국근대영미소설학회 근대영미소설 근대영미소설 제28권 제3호
발행연도
2021.12
수록면
77 - 106 (30page)

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This paper explores how the two origins of Undine Spragg’s name and artistic images are interrelated and influence men’s perceptions of her. Ralph Marvell paints Undine as a soulless water nymph, undine, and considers himself tasked with recreating her as his poetic muse and wife by filling her soul with his family traditions. Raymond De Chelles identifies Undine with the tapestry fixed in his castle gallery, hoping her to become the means of reproduction. Another origin of Undine’s name is the name of a hair waver on sale. Once Ralph and Raymond exchange their status for commodity capital by marrying Undine, they seek to erase traces of vulgarity from her and expect her to become a passive and self-sacrificing wife and mother. Since the American marriage custom is predicated upon the economic dependency of women on men, Undine divorces her husbands who fail to fulfill her material desires and seeks a new husband. Elmer Moffatt values Undine not only as one of the finest French works of art that he purchases for speculative purposes, but also as a trophy for his success. As opposed to Ralph and Raymond, Undine and Elmer are independent of prejudices and taboos and become symbols of consumer capitalism. Contrary to Ralph’s imagination, Undine is not a water fairy who depends on male love, but an independent siren who wants to control her own destiny.

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