울프의 「댈러웨이 부인」 - 새로운 ‘문명’의 주체로서의 여성

이순구(Soonku Lee) 한국인문사회과학회 2019 현상과 인식 Vol.43 No.3

이 논문은 「댈러웨이 부인」을 서구 문명에 대한 분석으로 보고 버지니아 울프가 암담한 현재적 상황에서 인류 문명이 나아갈 길을 여성주의자적 관점에서 모색하고 있다고 본다. 이 소설의 가설은 두 가지이다. 하나는 1차 대전을 통해 그동안 서구문명을 전개시켜온 주인공들인 남성에 의한 가부장제적 통치가 사실상 실패했음을 드러냈다는 것과 다른 하나는 남성의 통치가 실패로 끝난 이상 이제 여성이 전면에 나가 그들만의 새로운 ‘문명’을 그들만의 방식으로 만들어나가야 한다는 것이다. 그리하여 이 논문은 가부장제적 서구 문명에 대한 울프의 비판과 그 대안으로 제시하는 울프의 신비주의적 페미니즘의 내용을 살펴보고자 한다. 특히 이 논문에서는 울프의 신비주의를 영국 여성의 신비주의적 전통의 일부인 울프의 고모의 삶과 저서에 그 출처를 두는 것으로 보고 그것이 클라리사 댈러웨이의 다락방 장면들에 잘 나타난다는 전제 하에 논의를 그녀의 다락방 장면들에 국한시켜서 클라리사가 꿈꾼 페미니스트 유토피아의 세계를 분석한다. 그것은 여성 간 집단적 연대를 통해 이루어지는 것으로 배제와 추방의 가부장제적 통치의 방식이 아닌 모성적 포용에 기초하여 기존의 역사에서 소외되었던 낮은 계급의 그룹들을 다시 사회에 적극적으로 통합시키는 것이다. 그리하여 당대의 급진주의자들뿐만 아니라 남성 비평가들이 비판하는 울프의 신비주의를 그녀의 페미니즘과 연관시켜서 급진주의자의 것으로 옹호하고자 한다. Viewing Mrs. Dalloway as an analysis of Western culture, this paper argues that, in the novel, Virginia Woolf searched for the future direction of human civilization in the gloomy circumstances of the times from a feminist perspective. There are two hypotheses in this text: the one is the revelation, through World War I, of the de facto failure of patriarchal rule by men, the protagonists who hitherto have developed Western civilization; and the other is the need, with the failure of men’s governance, for women now to come forward and to create a new civilization in their own ways. Consequently, this paper seeks to examine the writer’s criticism of patriarchal Western civilization and the contents of the mystic feminism that she presents as its alternative. In particular, under the view that Woolf’s mysticism stemmed from the mystic tradition among British women, especially from the life of the nuns in the convent, it restricts discussions to the Clarissa Dalloway’s attic scenes and analyzes the feminist utopia envisioned by her as a mystic feminist. Formed through solidarity among women, the utopia in the novel actively reintegrates groups excluded from existing history based not on the patriarchal ruling methods of exclusion and exile but on maternal acceptance and integration. This paper thus seeks to advocate the writer’s feminism, which has been frequently criticized by not only contemporary radicals but also male literary critics as conservative and reactionary in its stance.

인간의 마음과 상호주체성:『댈러웨이 부인』에 대한 인지적 고찰

박소영(Park, Soyoung) 한국문화융합학회 2018 문화와 융합 Vol.40 No.4

인문학 분야에 인지적 전환이 도입된 이래, 인간의 인지와 관련된 연구를 문학 분야에 적용하려는 시도는 문학비평에 대한 하나의 새로운 대안으로 떠올랐다. 인지과학과 문학이 공통적으로 기반하는 부분이 있다면 그것은 인간의 마음에 대한 관심이라고 할 것이다. 인간의 마음과 신체가 갖는 이러한 상관성은 “체화된 마음”(embodied mind) 혹은 “체화된 인지”(embodied cognition) 개념으로 설명할 수 있다. 체화된 마음 혹은 체화된 인지 가설은 인간은 몸으로 생각한다는 것을 기본 전제로 한다. 인간의 인지구조가 갖는 특징은 그것이 하나의 단일한 경로나 출처를 통해 형성되고 소통되는 것이 아니라, 여러 층위의 인지적 구조가 중첩된 상호-주체성의 구조를 갖는다는 것이다. 복잡한 감정의 문제와 관련된 주제를 인지적 관점에서 볼 때 인간의 정신 및 사고, 감정 등이 타인과의 교감 속에서 소통되는 방식은 ‘상호주체성’(intersubjectivity)을 구성한다. 하나의 서사 안에는 다수의 인물들이 등장하여 상호주체성을 형상화한다. 울프는 영미 소설의 전통에서 상호주체성을 잘 구현해낸 대표적인 작가 중 하나로 손꼽힌다. 특히 자신의 글쓰기 실험을 극대화한 소설 『댈러웨이 부인』에서 이러한 인지적 구조의 특성을 구현하고 확대하고 있다고 볼 수 있다. 복잡한 상호주체성들의 네트워크를 창조해내기 위해 울프는 상호주체성의 다양한 층위를 설명할 인지구조의 양상을 창출했다고 볼 수 있다. Since the introduction of cognitive shifts in the field of humanities, attempts to apply research on human cognition to literature have emerged as a new alternative to literary criticism. If there is an element on which cognitive science and literature are based in common, it is an interest in human mind. The correlation between the human mind and the body can be explained by the concept of embodied mind or embodied cognition . The embodied mind or the embodied cognitive hypothesis is based on the assumption that human beings think in the body. The characteristic of the human cognitive structure is that it is not formed and communicated through one single path or source, but has a mutual-subject structure with overlapping cognitive structures at different levels. From a cognitive point of view, the subject related to complex emotional problems is a form of intersubjectivity in which human mind, thoughts, and feelings communicate with others. In a narrative, a large number of characters emerge to shape the subjectivity of each other. Virginia Wolf is considered one of the most prominent writers who have realized intersubjectivity in the tradition of English and American novels. In particular, Mrs. Dalloway, which maximizes Woolf’s writing experiment, can be seen as realizing and expanding the characteristics of the human cognitive structure. In order to create a network of complex interdependencies, Wolfe has created an aspect of the cognitive structure that explains the various layers of intersubjectivity.

가야트리 스피박의 서발턴 개념으로 버지니아 울프의 『댈러웨이 부인』 다시 읽기

최상이 ( Choi Sangyi ) 서울대학교 인문학연구원 2016 人文論叢 Vol.73 No.4

이 논문은 가야트리 차크라보티 스피박의 『탈식민이성비판: 사라져가는 현재의 역사로』의 핵심인 토착정보원의 폐제(foreclosure)와 서발턴(subaltern) 개념을 살펴보고, 이 개념으로 모더니즘 소설 『댈러웨이부인』을 다시 읽어보려는 목적을 가진다. 스피박은 계몽 철학을 인류학적 관점으로 새롭게 읽어 이성의 승리 뒤에 존재하는 폐제되어야 하는 토착정보원에 주목하고, 『제인 에어』를 여성 개인주의의 성취로 읽는 1세계의 부르주아 페미니스트 비평에서도 같은 패턴을 읽어낸다. 스피박은 제인이 가부장적 법적 질서 안으로 들어가기 위해서 버사 메이슨과 같이 폐제되어야 하는 서발턴 여성이 존재함을 밝혀내고, 이 두인물의 관계를 제대로 읽어내지 못한 그동안의 페미니즘 담론이 제국주의의 공리에 공모하고 있음을 지적한다. 이 서발턴 개념으로 20세기모더니즘 소설 『댈러웨이 부인』을 읽을 때 기존의 더블 논의는 문제적일 수 있다. 1세계 작가인 버지니아 울프가 쓴 『댈러웨이 부인』에는 3세계의 토착민이 거의 등장하지 않지만, 그럼에도 울프 작품과 제국주제는 뗄 수 없는 깊은 연관성을 가진다. 울프가 스스로 밝히듯, 주인공 클라리사 댈러웨이의 더블로 등장하는 셉티머스 스미스는, 전쟁의 충격으로 인해 이성이 제대로 작동하지 못할 때 권위자들에 의해 주체를 상실하고 작품에서 폐제될 수밖에 없다. 기존의 더블 비평에 서발턴개념을 추가하면 이 더블의 관계는 제국주의에서 행해지는 인식론적폭력을 증명하는 것으로 해석할 수 있다. 따라서 이 글은 클라리사가 죽음을 해결하는 방식이 인식 불가능한 이성의 한계를 극복함으로 이성의 탁월함을 증명하는 칸트의 숭고의 역학과 유사함을 밝히고, 셉티머스는 클라리사 뿐만 아니라 영국 지배계층을 위한 토착정보원의 역할을 하며, 스피박이 지적하는 토착정보원과 같이 폐제되는 서발턴으로 읽을 수 있음을 논의해보려 한다. This study examines foreclosure of a Native Informant and a subaltern as discussed in Gayatri Chakravorty Spivak`s A Critique of Postcolonial Reason: Toward a History of the Vanishing Present and rereads Mrs. Dalloway through her reading of Jane Eyre and its criticisms. Spivak notices the Native Informant who should be foreclosed in the process of Sublime in Kant`s Critique of Judgment. Also she points out the same pattern in the bourgeois feminist critiques that celebrate Jane`s achievement as an individual female. According to Spivak, Jane is accepted into the patriarchical family law through Bertha Mason who is a foreclosed subaltern female by madness. She accuses the feminist critiques for being complicit in imperial axiomatism, not discussing the relation between Jane and Bertha. While there is no third-world character in Mrs. Dalloway written by a first-world female author, Virginia Woolf is deeply related to imperialism. I attempt to apply the Sublime in reading Mrs. Dalloway, especially focusing on the double discussion between Clarissa Dalloway and Septimus Smith. I claim that Clarissa contemplates Septimus`s suicide through the dynamic of Sublime and that Septimus, a shell-shocked veteran, is not simply a Clarissa`s double, but rather a foreclosed subaltern. Therefore, this study reveals the comparability between the double discussions in Mrs. Dalloway and Spivak`s subaltern argument.

영화 <디 아워스(The Hours)>에 나타난 이미지의 상징성

박민영(Park, Minyoung) 국제언어문학회 2016 國際言語文學 Vol.- No.34

이 논문에서 필자는 영화 <디 아워스>에 나타난 이미지의 상징성을 원작소설 『세월』과 버지니아 울프의 소설 『댈러웨이 부인』과의 상호연계성을 바탕으로 살펴보았다. 영화의 주인공인 버지니아, 로라, 클라리사는 다른 시간과 공간에 살고 있지만, 소설『댈러웨이 부인』으로 연결돼 있다. 버지니아는 소설을 집필하며, 로라는 그 소설을 읽고, 클라리사는 소설의 주인공인 댈러웨이 부인과 같은 삶을 살고 있다. 영화는 교차편집으로 마치 세 여성이 동시에 같은 날을 사는 것처럼 보여준다. 이때 나타나는 영상 이미지의 유사성과 반복성은 이 영화의 가장 큰 개성으로, 필자는 이 이미지들의 상징을 분석함으로써 주인공의 정서와 심리상태를 알아보고자 했다. 세 여성이 준비하는 파티는 분열된 내면의식을 연결하고, 각기 다른 삶을 사는 사람들을 소통시키는 일종의 상징적 의식이다. 이러한 파티를 위해 세 여성이 마련하는 음식은 자아의 확장, 즉 그들 내면의 심리상태를 함축한다. 파티의 방문객은 주인공들이 자신을 돌아보고, 진정 원하는 것을 뒤늦게나마 깨닫게 해주는 역할을 한다. 그리고 전편에 흐르는 동성애적인 코드는 고정된 성 정체성을 거부하고 자유를 열망하는 주인공들의 내면의식을 상징한다. 영화 <디 아워즈>를 일관하는 주제는 죽음이다. 버지니아 울프의 자살 장면으로 시작하는 이 영화는 그 장면을 다시 한 번 보여 주면서 끝난다. 그리고 그 사이에 여러 개의 죽음이 변주되고 있다. 주인공들에게 죽음은 어긋난 사랑에 대한 자유를 의미하며, 삶의 소중함은 죽음과 직면했을 때 비로소 인식된다. 이것은 원작소설 『세월』의 주제이자, 버지니아 울프의 소설 『댈러웨이 부인』의 주제이기도 하다. 영화 <디 아워스>의 가장 큰 미덕은 영상적 이미지의 병치와 변주를 통해 주인공인 세 여성의 같거나 다른 정서와 심리상태를 보여주었다는 것이다. 영상 이미지의 상징성은 영화를 보다 심도있게 감상하고 이해하기 위해 앞으로 다양한 각도에서 지속적으로 연구돼야 할 것이다. The original of The Hours directed by Stephen Daldry is a novel, The Hours, by Michael Cunningham. The novel version of The Hours includes an existing character, Virginia Woolf, and two of fictitious characters influenced by his work, and describes their lives. This paper will study the symbols of death and party expressed in The Hours through its original, Cunningham"s The Hours. The film shows a day that three women live through cross editing. Mrs. Wolf is writing Mrs. Dalloway. Mrs. Brown is reading Mrs. Dalloway. And Clarissa whose nick name is Mrs. Dalloway is living the life that Mrs. Dalloway lives. Virginia Woolf"s novel, Mrs. Dalloway, is not only the basic text of the original of the film version of The Hours, but also links between the three women in different times and spaces. As in the novel, Mrs. Dalloway, in which Clarissa prepares a party, the three women begin the day with preparing their parties. They cook, have their friends invited, kiss the same sex, and long to leave for different places. The three women have lovers who they love and who love and protect them, but they are not contend with their daily lives. So, they dream of different places. The food that the three women cook symbolizes the expansion of one"s identity and in fact, symbolizes their inner states. The invitations allow the three women to look back on themselves, and realize what they truly want. The gay kiss in the film implies a departure from daily life. The main theme of the film, The Hours, is death. The film starts with showing the suicide of Virginia Woolf and ends with showing it again. And several deaths happen between the beginning and the end. The three women witness different deaths to paradoxically understand the meaning of life like Clarissa in the novel, Mrs. Dalloway. Real life comes after death. Death is portrayed as the only escape from restrictions of daily life that are more hopeless than death itself. It also symbolizes the desire of the three women for freedom.

「댈러웨이 부인 」에 나타난 전쟁 트라우마

강진호,Jin-Ho Kang 한국영미어문학회 2015 영미어문학 Vol.- No.117

This paper tries to elicit and explicate war trauma in Mrs. D alloway in relation to Freud’s theory on traumatic neurosis. S eptimus, one of main characters in the novel, suffers from war trauma after he returns home, having witnessed the bomb-shelled death of his officer and close comrade, Evans, on the frontline during World War I . The typical symptoms of his illness such as hallucinations, nightmares, terror, dissociation, depression, rage, and denial reveal the existence of unassimilated, unintegrated and hurtful experience of the past. Freud argues that traumatic experience attempts to come to the surface through the compulsion to repeat and to be recognized; however it is destined to fail. I n the novel, S eptimus is victimized by war trauma and commits suicide because nobody gives him understanding and sympathy. D espite being a stranger, only Clarissa shows a moment of communication and sympathizes with his suffering and death at the end of the novel. Through the emotional connection of both characters Woolf suggests that trauma can be accessed and treated by sympathetic engagement among people; and the narrative construction of a work of literature can contribute to the reality of historical truth.

런던, 도시 드라마 속으로: 『댈러웨이 부인』과 『토요일』

박은경 ( Eun Kyung Park ) 한국제임스조이스학회 2013 제임스조이스저널 Vol.19 No.1

This paper investigates a close connection between Virginia Woolf’s Mrs Dalloway (1925) and Ian McEwan’s Saturday (2005), with a focus on urban drama in London. It furthers several critics’ brief attention to some similarities between the two texts. I demonstrate that the shared backdrop of modern London provides a crucial space for the privileged protagonists of both novels to see, contact, and make a meaningful relationship with the underprivileged. These prominent ethical concerns in the urban space contain a political edge, owing to the meticulously chosen temporal backgrounds of each novel-the aftermath of World War I in Mrs. Dalloway and the after-effect of the 9/11 terrorist attacks in Saturday. Drawing a parallel between the conflict at home and the violence in the homeland dramatized in one day London, two writers deal with the crisis of western civilization within everyday urban life. Yet, their approaches to explore the complex aspects of urban connections are slightly dissimilar. Mrs. Dalloway orchestrates the myriad of urban drama that is seen and experienced by London pedestrians; intermixing the pervading consciousness of Clarissa Dalloway with that of Septimus Smith. Saturday unfolds an urban drama, as the scientifically-minded protagonist, Henry Perowne, mainly observes the city through the windows of his house or those of his motor-car. Furthermore, Woolf emphasizes heart that allows the ethical intimacy with the social other at the end of Clarissa’s party. On the other hand, McEwan is concerned with the difficulty of achieving mutual understanding and sympathy, as revealed in Henry’s final limitation within his familial bounds. Nonetheless, Henry’s unavoidable contact with Baxter in a car accident leads to Baxter’s intrusion into Henry’s castle-like home; illustrating the inevitability of urban contact. The intervening narrative voices, though faint, allow a fissure in Henry’s dominant narrative. Similarly, in Mrs. Dalloway the diverse voices of many other Londoners, different in class and status, are heard. Out of focus from Clarissa, a medley of London drama emerges. Both texts, layered in various voices that echo urban dissimilitude, endorse the heterogeneous urban drama in London that is open to threat and violence, but, to understanding and communicating as well.

『댈러웨이 부인』와 『술라』에 나타난 전쟁, 트로마, 여성 섹슈얼리티

박형신(Park, Hyung-shin) 한국영미어문학회 2009 영미어문학 Vol.- No.90

Through chiasmatic reading Virginia Woolf's Mrs. Dalloway and Toni Morrison's Sula, this essay proposes to perceive and analyze two women writers' ""so like, yet unlike"" narrative characteristics to resist and subvert violence and oppression. Simultaneously this essay examines the subplot of female friendship or lesbianism as well as its structural ad rhetorical functions in the text. First of all, as intertextual features, Woolf and Morrison resist the narrative conventions of sequentiality and causality, in their refiguration of traumatic experiences of Septimus in Mrs. Dalloway and Shadrack in Sula, shell-shocked Great War veterans. Woolf blots out boundary of in/sanity with ironic narrative of violence and oppression. Sula at every level questions easy divisions between war and peace, good and evil. Both writers refuse dichotomy and devise multiple voices and multi-layer narration. Morrison criticized the fact that friendship between women had never been depicted as the major focus of a novel unless it was homosexual and intended to invent such female closeness in sula. Woolf declared in A Room of One's Own that lesbian love could be observed in ""the privacy of our own society"" so it gad to exist in fiction. whether to read Morrison through the lens of Woolf or to read Woolf through the lens of Morrison, chiasmatic reading their works can afford to give the opportunity to research the aspects of multiple traumas beyond the differences of race, class and nationality.

댈러웨이 부인과 블룸 부인

이영심 ( Young Shim Lee ) 한국제임스조이스학회 2009 제임스조이스저널 Vol.15 No.2

This essay deals with the two married women, Mrs. Dalloway in Mrs Dalloway by Virginia Woolf and Mrs. Bloom in Ulysses by James Joyce, focusing on the issues of the crisis in their identities within the marriage system and their struggle to get independent realm in it. The title of Wolf`s text, Mrs. Dalloway and Mrs. Bloom emphasize the fact that their names themselves always evoke their husbands such as Mr. Dalloway and Mr. Bloom instead of their own names. Furthermore, the subtitle of the last episode of Ulysses, Penelope, referring to the faithful wife of Odysseus despite his numerous extramarital affairs with other women, defines Molly`s primary role as the good wife of Bloom. Therefore, the title and subtitle play the role to reveal the situation in which the two women experience their identity crisis upon their getting married in those days. However, two women characters are not the traditional submissive and conforming to the conservative male-centered ideology. First of all, they seek to establish their own place in the existing marriage system. For example, the fact that for Clarissa the most important element for choosing her future husband is whether the man can give her a little independence (MD 86) suggests that she does not want to give up her own independence in spite of her getting marriage. But her struggle is not an easy one and there exists the gap between Mrs. Dalloway who had the oddest sense of being herself invisible; unseen; unknown (MD 11) and Clarissa who dreamt to reform the world (MD 36) and believed that she fell in love with women (MD 35). This gap does not come from Clarissa`s own fault but from the social structure which prevents women from acquiring their economical and political independence. In the case of Mrs. Molly who belongs to the lower class of her society, she directly attacks the conservative male ideology by means of her powerful interior monologue. To begin with, she divulges her husband`s unfaithfulness through numerating his various love affairs. Then she states her own sexual desire without reservedness, which has traditionally been forbidden in the western society. This strategy of being anti Penelope is effective to dismantle the patriarchal ideology in which women`s social position is secondary to that of men`s. However, the fact that Molly`s powerful voice is completely confined within her inner thought indicates that women of those days did not have the means to express their voices publically.

크리스테바와 『댈러웨이 부인』: 모성의 억압과 회복

김진옥 ( Jin Ok Kim ) 근대 영미소설 학회 2005 근대 영미소설 Vol.12 No.2

This paper examines how the notion of maternity in Woolf`s Mrs. Dalloway is repressed and restored, by borrowing Julia Kristeva`s theory on maternity. Kristeva argues that "it is not a woman as such who is repressed in a patriarchal society, but motherhood." She also insists that depression and melancholia come from "the impossible mourning" for the loss and repression of maternal objects. Depression, she implies, can be overcome by restoring semiotic chora, which characterizes a maternal body. The restorative power of maternal love is evident when Kristeva argues that a psychoanalyst should provide a patient with maternal love, as the Virgin Mother offers unconditional love to her child. In this novel, Clarissa`s mother is an absent figure and is only once mentioned. Clarissa cries when she sees Mrs. Hilbery, a maternal figure: Her cry represents the conflict between her maternal desire and its oppression. However, Clarissa restores her maternal body by recalling the jouissance that she had shared with Sally Seaton, and finally recovers from her depression due to maternal loss. Clarissa, as a party hostess, becomes a maternal subject, strengthening family connections and offering joy and peace to party guests. From Kristeva`s perspective, her maternal activity is similar to the Virgin Mother`s love. Clarissa has "no more fear" when she restores her maternal body in her union with Sally.

댈러웨이 부인의 양가적 욕망 -『댈러웨이 부인』에 나타난 라캉적 여성성

김일영 ( Il Yeong Kim ),조영지 ( Young Ji Cho ) 한국영어영문학회 2013 영어 영문학 Vol.59 No.2

Critics of Woolf`s Mrs. Dalloway fall into two groups: one group of critics maintain that Woolf criticizes the snobbery of Mrs. Dalloway as an upholder of middle-class ideology, while the other group pay their attention to her unconscious desire to find something meaningful that goes beyond middle class ideology. These two seemingly incompatible aspects, however, co-exist in her, and can be explained in terms of Lacanian “femininity” because it is characterized by the coexistence of conflicting desires to stay in the “symbolic”/society as well as to pursue the “real” excluded from the symbolic. Mrs. Dalloway is a typical exemplar of the Lacanian femininity. She who chose a “socially” stable man as her husband, now prepares a party to have “socially” influential people under her roof. During the party, however, she retires to her “little room” to think about the death of Septimus who committed a suicide as defiance against Lacanian “symbolic”/society, and approves of his suicide as a means of preserving his own “treasure”/Lacanian “real.” She, however, ultimately returns to the party because Lacanian “subject” can “emerge” only in the symbolic. In this sense, Mrs. Dalloway is the embodiment of Lacanian femininity, because, “she is not not at all there[the symbolic]. She is there in full. But there is something more”.