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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
- 2009.9
- 수록면
- 429 - 447 (19page)
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This paper probes into some significant problems inherent in the protagonist's search for the Self, the Author, and the Fool in Ann-Marie MacDonald's Goodnight Desdemona(Good Morning Juliet). Most critics don't object that Constance Ledbelly is successful in her self-discovery. This paper will try to prove that there are some problems regarding the accomplishment of Constance's three missions and that these problems make MacDonald's objective to criticize scathingly the patriarchal Canadian academia less effective.
As for the search for the Self, Constance succeeds in correcting and accepting belligerent Desdemona and lustful Juliet who represent her two repressed archetypes in the unconscious. However, she fails to overcome the tragic affair with Professor Claude Night and to realize clearly her own sexual identity. As for the search for the Author, Constance realizes that she is the Author of the inner play-in fact, MacDonald's comic adaptation of Shakespearean tragedies, Othello and Romeo and Juliet. But the coexistence of the comical characters and the dangerous ones in the inner play makes her search for the Author problematic because it is contradictory to her conviction that the sources of the two Shakespearean tragedies are comedies. As for the search for the Fool, she grows conscious that she is the Fool of the inner play by preventing the catastrophes and making serious situations comical. However, the comical atmosphere made by Constance can be at any time transformed into the tragic one because of villainous lago and hot-tempered Tybalt.
In conclusion, Ann-Marie MacDonald succeeds in twisting the two Shakespearean tragedies comically, but fails to criticize severely the authoritative male-centered Canadian academia by making the protagonist's three missions problematic.
As for the search for the Self, Constance succeeds in correcting and accepting belligerent Desdemona and lustful Juliet who represent her two repressed archetypes in the unconscious. However, she fails to overcome the tragic affair with Professor Claude Night and to realize clearly her own sexual identity. As for the search for the Author, Constance realizes that she is the Author of the inner play-in fact, MacDonald's comic adaptation of Shakespearean tragedies, Othello and Romeo and Juliet. But the coexistence of the comical characters and the dangerous ones in the inner play makes her search for the Author problematic because it is contradictory to her conviction that the sources of the two Shakespearean tragedies are comedies. As for the search for the Fool, she grows conscious that she is the Fool of the inner play by preventing the catastrophes and making serious situations comical. However, the comical atmosphere made by Constance can be at any time transformed into the tragic one because of villainous lago and hot-tempered Tybalt.
In conclusion, Ann-Marie MacDonald succeeds in twisting the two Shakespearean tragedies comically, but fails to criticize severely the authoritative male-centered Canadian academia by making the protagonist's three missions problematic.
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