“그녀에게 망령들어”: 복수자의 비극의 기호와 섹슈얼리티의 혼란 = “Doting on her Beauty”: Sign and Sexuality in The Revenger’s Tragedy

다국어 초록 (Multilingual Abstract)

In Renaissance drama, a revenger begins his action as a Platonist whoaspires to rehabilitate the violated value of the past. He cannot perform a facilemourning for the value he has cherished. Along the way, he realizes the channelto the public justice is closed.or, he himself closes it.to resort to privaterevenge. In The Revenger’s Tragedy, however, this process is omitted. Inattempting at paying back for the immoral event perpetrated on him nine yearsago, Vindice already decided to take a private revenge. The play seems to gostraight to the confusion of public discourse which already everywhere reachesits full ripeness and capacity. One's public identity frequently fails, and theabsolute signifier of God is parodied, and further, the revenger is cynical abouthis own act of revenge. This confusion of signs is finally amplified by thesymbolic value of woman. In the revenger’s mind, woman takes the place of thefutile public justice and transcendental authority represented by the king andGod. But rather than remaining a Platonic Idea, woman soon becomes a fluidsign most susceptible to social change. Related to this sense of change, what isspecial in The Revenger’s Tragedy is a strong social criticism by Vindice, adisinherited son. The malcontent attitude toward society enables him to keepdistance from the courtly value, including his respect for woman. In this regard,The Revenger’s Tragedy is no longer in the morality tradition. Although dramatispersonae of the play are all allegorical abstractions, Vindice is not Everyman, butan individual entity under subjection to social change. Utter confusion, parodyand decadence coexist with social criticism in the play.

참고문헌 (Reference)

• 1 강석주, "영국 르네상스 복수비극의 전복적 욕망" 한국셰익스피어학회 46 (46): 691-707, 2010
• 2 이혜경, "『햄릿』과 『복수자의 비극』에 나타난 여성의 성(sexuality)" 한국셰익스피어학회 46 (46): 587-608, 2010
• 3 Belsey, Catherine, "The Subject of Tragedy: Identity and Difference in Renaissance Drama" Methuen 1985
• 4 Benjamin, Walter, "The Origin of German Tragic Drama" Verso 1998
• 5 Stallybrass, Peter, "Staging the Renaissance: Reinterpretations of Elizabethan and Jacobean Drama" Routledge 210-220, 1991
• 6 Broude, Ronald, "Revenge and Revenge Tragedy in Renaissance England" 28 : 38-58, 1975
• 7 Dollimore, Jonathan, "Radical Tragedy" U of Chicago P 1984
• 8 Mullaney, Steven, "Mourning and Misogyny: Hamlet, The Revenger’s Tragedy, and the Final Progress of Elizabethan I, 1600-1607" 45 : 139-162, 1994
• 9 Prosser, Eleanor, "Hamlet and Revenge" Stanford UP 1971
• 10 Wofford, Susanne, "Hamlet" Bedford Books, St. Martin’s 1994
• 11 Salingar, L.G, "Elizabethan Dramatists" Chelsea House 141-156, 1986
• 12 Layman, B.J, "Elizabethan Dramatists" Chelsea House 157-170, 1986
• 13 Sacks, Peter, "Elizabethan Dramatists" Chelsea House 47-56, 1986
• 14 Nietzsche, Friedrich, "Ecce Homo" Random House 1967
• 15 Fraser, Russell A., "Drama of the English Renaissance. Vol. 2" Macmillan 1976
• 16 Nietzsche, Friedrich, "Daybreak" Cambridge UP 1982