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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
- 2001.12
- 수록면
- 725 - 752 (28page)
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Certainly there have been waves of change in the way that Shakespeare is treated. If we had been writing Shakespeare criticism in the I 970s, we would have been able to assume a general reverence for Shakespeare, and for the sanctity of his texts as stable and identifiable artifacts. There would have been little need to address theoretical or ideological approaches to Shakespeare texts. With the rise of literary theory and cultural studies, within Shakespeare studies there was an uneasy acknowledgement that the texts of Shakespeare might not survive in importance into the twenty-first century. Now, being written in 2000, a different approach again is possible and necessary. A whole new field of criticism is opening up including Shakespeare on film and feminist criticism which, by and large, has mellowed from a polemical mission of reading to the more descriptive 'gender studies', accepting writers like Shakespeare as open to feminist and gay readings.
There are obvious homoerotic, same-sex discourses in Shakespeare's works that are an important aspect of the theme of love. But what is significant is that old-fashioned hetero-sexual discourse, as in the early comedies, is freely mingled with homoerotic discourse. And various sexualities, including a strong strain of self-love and chastity, exist comfortably side by side without contradicting one another. It is important to note that the most extensive body of homoerotic discourse is in Shakespeare's Sonnets. On the English Renaissance stage, not only was it possible for various sexualities to exist side by side, but also we can find that the possibility of women becoming men and to a lesser extent men becoming women was a real one for the physiologic consciousness of the Elizabethan, who upon viewing the final scene of Twelth Night saw just how interchangeable sex as well as gender were.
This paper suggests that examining Twelfth Night through the lens of lovesickness discourse reveals how love can catalyze subjectivity and overturn normative gender and erotic roles and that marriage assures neither permanent satisfaction nor social harmony. In this play the ending leaves open the possibility that patriarchal marriage and homoerotic attachments can coexist, for neither marriage is represented as quite conventionally gendered or even exclusively heterosexual, as bonds other than marital ones persist and are acknowledged.
There are obvious homoerotic, same-sex discourses in Shakespeare's works that are an important aspect of the theme of love. But what is significant is that old-fashioned hetero-sexual discourse, as in the early comedies, is freely mingled with homoerotic discourse. And various sexualities, including a strong strain of self-love and chastity, exist comfortably side by side without contradicting one another. It is important to note that the most extensive body of homoerotic discourse is in Shakespeare's Sonnets. On the English Renaissance stage, not only was it possible for various sexualities to exist side by side, but also we can find that the possibility of women becoming men and to a lesser extent men becoming women was a real one for the physiologic consciousness of the Elizabethan, who upon viewing the final scene of Twelth Night saw just how interchangeable sex as well as gender were.
This paper suggests that examining Twelfth Night through the lens of lovesickness discourse reveals how love can catalyze subjectivity and overturn normative gender and erotic roles and that marriage assures neither permanent satisfaction nor social harmony. In this play the ending leaves open the possibility that patriarchal marriage and homoerotic attachments can coexist, for neither marriage is represented as quite conventionally gendered or even exclusively heterosexual, as bonds other than marital ones persist and are acknowledged.
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