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학술연구/단체지원/교육 등 연구자 활동을 지속하도록 DBpia가 지원하고 있어요.
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연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
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Oscar Wilde's An Ideal Husband has been criticized due to the characters' inconsistent identities. Lord Goring is in the center of the arguments surrounding the identity issue. He is a dandy in public. But very distinguished compared to a typical dandy, Goring is actively involved in directing Chiltern's career, married life as well as his public persona. Wilde's frequently used term, "a mask" can explain the characters' conflicting identities. Chiltern, supposedly 'an ideal husband,' has worn the masks of an 'ideal husband and politician' for ages; Mrs. Cheveley, a schemer and blackmailer has worn the mask of an extremely elegant lady. Masking can be understood in the context of 'the art of living' that this play advocates. Life can be compared to a work of art in that both life and art can transform themselves and have multiple implications and masks.
Masking issue can be discussed in a social context besides the Wildean art philosophy. Positioning the very rigid and judgmental Victorian society outside the characters' artificial circle, this play demonstrates the social necessity for masking. A mask seems to be an essential item for the characters' survival. The play certainly advocates masking by emphasizing society's hostility toward even slight deviations from respectable social codes. The play criticizes society's rigidness but at the same time it allows the male characters to apply the society's male-centered values to female characters. Lady Chiltern, an idealistic feminist, conforms to Lord Goring's obviously male-centered assertion which distinguishes women's position in family and society from men's. Goring, who has advocated masking throughout the play, unmasks Mrs. Cheveley in a very crude and chauvinistic way, criticizing her liberal sexual life. The play has limitations in being a balanced social critique.
But unlike Wilde who fails to mask her private life completely, the Chilterns and Goring manage their multiple identities without endeavoring to unify them. These open identities are not only survival tactics in the hostile society but also can be called artificial constructs which abide by Wildean "truth as a state of dynamic tension between opposites."
Masking issue can be discussed in a social context besides the Wildean art philosophy. Positioning the very rigid and judgmental Victorian society outside the characters' artificial circle, this play demonstrates the social necessity for masking. A mask seems to be an essential item for the characters' survival. The play certainly advocates masking by emphasizing society's hostility toward even slight deviations from respectable social codes. The play criticizes society's rigidness but at the same time it allows the male characters to apply the society's male-centered values to female characters. Lady Chiltern, an idealistic feminist, conforms to Lord Goring's obviously male-centered assertion which distinguishes women's position in family and society from men's. Goring, who has advocated masking throughout the play, unmasks Mrs. Cheveley in a very crude and chauvinistic way, criticizing her liberal sexual life. The play has limitations in being a balanced social critique.
But unlike Wilde who fails to mask her private life completely, the Chilterns and Goring manage their multiple identities without endeavoring to unify them. These open identities are not only survival tactics in the hostile society but also can be called artificial constructs which abide by Wildean "truth as a state of dynamic tension between opposites."
목차
Ⅰ. 들어가며
Ⅱ. 예술, 사회, 삶 사이에서
Ⅲ. 여성의 변신, 그 한계와 가능성
Ⅵ. 나가며
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