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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.
논문 기본 정보
- 자료유형
- 학술저널
- 저자정보
- 발행연도
- 2007.8
- 수록면
- 49 - 67 (19page)
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This paper will examine how the protagonists in Wuthering Heights achievetheir identities and recognize their own desire. Their ego identities are formed through the ambivalent feelings that they experience in the relationships with their doubles. The narcissistic identification and hatred that both Catherine and Heathcliff feel toward each other can be observed through Freud's theory of the uncanny and Lacan's concepts of mirror stage and objet a.
Both Freud and Lacan believe that the ego experiences narcissistic identity toward its double, yet has trouble with the double. Freud states that the double is the best example of the uncanny: the double is considered identical with the ego (canny) because they look alike, but the double is regarded as “the uncanny harbinger of death.” Like Freud's uncanny, Lacan's mirror stage demonstrates the ego's ambivalent feelings toward its double. In the mirror stage, the infant identifies with a visual image of itself, and thus is jubilant. This joyous affirmation of bodily unity in the image is followed by a recognition of the gap between the unity of the image and the continuing fragmentary character of the infant's lived experience of the body. The infant experiences a moment of “jubilation” to “alienation.” Lacan insists that the ego recognizes desire in the body of the other, and thus the ego is alienated. Borrowing this theory, Catherine, for example, is alienated by surrendering her desire to her double Heathcliff.
Lacan's objet a is similar to Freud's uncanny in that both of them share the characteristics of repetition. Freud argues that the uncanny comes from infantile complexes of psychic reality and the infantile experience repeats throughout the whole life. Like the repetitive uncanny, Lacan's objet a demotes the object which can never be attained: thus, lack and loss set desire in motion repetitively. Objet a for both Catherine and Heathcliff is their childhood at Wuthering Heights; this object is already lost. However, the object is the cause of desire which leads them to repetitively seek other objects. This novel, with repetitive reference to the past and names of characters, can be read as canny and familiar and yet as uncanny and strange.
Both Freud and Lacan believe that the ego experiences narcissistic identity toward its double, yet has trouble with the double. Freud states that the double is the best example of the uncanny: the double is considered identical with the ego (canny) because they look alike, but the double is regarded as “the uncanny harbinger of death.” Like Freud's uncanny, Lacan's mirror stage demonstrates the ego's ambivalent feelings toward its double. In the mirror stage, the infant identifies with a visual image of itself, and thus is jubilant. This joyous affirmation of bodily unity in the image is followed by a recognition of the gap between the unity of the image and the continuing fragmentary character of the infant's lived experience of the body. The infant experiences a moment of “jubilation” to “alienation.” Lacan insists that the ego recognizes desire in the body of the other, and thus the ego is alienated. Borrowing this theory, Catherine, for example, is alienated by surrendering her desire to her double Heathcliff.
Lacan's objet a is similar to Freud's uncanny in that both of them share the characteristics of repetition. Freud argues that the uncanny comes from infantile complexes of psychic reality and the infantile experience repeats throughout the whole life. Like the repetitive uncanny, Lacan's objet a demotes the object which can never be attained: thus, lack and loss set desire in motion repetitively. Objet a for both Catherine and Heathcliff is their childhood at Wuthering Heights; this object is already lost. However, the object is the cause of desire which leads them to repetitively seek other objects. This novel, with repetitive reference to the past and names of characters, can be read as canny and familiar and yet as uncanny and strange.
목차
Ⅰ. 들어가는 말
Ⅱ. 언캐니와 거울 단계의 양가성: 『워더링 하이츠』
Ⅲ. 언캐니와 오브제 아의 반복성: 워더링 하이츠
Ⅳ. 나가는 말
인용문헌
Abstract
참고문헌 (23)
참고문헌 신청
Berman, Jeffrey , 1990 , Narcissism and the Novel , New York: New York UP
Brontë, Emily , 2003 , Wuthering Heights , New York: Penguin
Dolar, Mladen , 1999 , I Shall Be with You on Your Wedding－Night , Lacan and the Uncanny 58 : 5 ~ 23
Eagleton, Terry , 1996 , Heathcliff and the Great Hunger: Studies in Irish Culture , Verso: New Edition
Evans, Dylan , 1996 , An Introductory Dictionary of Lacanian Psychoanalysis , London and New York: Routledge
Brontë, Emily , 2003 , Wuthering Heights , New York: Penguin
Dolar, Mladen , 1999 , I Shall Be with You on Your Wedding－Night , Lacan and the Uncanny 58 : 5 ~ 23
Eagleton, Terry , 1996 , Heathcliff and the Great Hunger: Studies in Irish Culture , Verso: New Edition
Evans, Dylan , 1996 , An Introductory Dictionary of Lacanian Psychoanalysis , London and New York: Routledge
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