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 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.

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”.

The Gardens in Virginia Woolf’s Mrs. Dalloway and Ecofeminism

박형신 한국영미어문학회 2019 영미어문학 Vol.- No.133

This paper aims at reexamining Woolf’s feminism through an ecofeminist lens focusing on the natural images in the public and private gardens in Mrs. Dalloway. Woolf’s Mrs. Dalloway as the modern pastoral elegy engages in mourning the deaths from war and everyday life. In Mrs. Dalloway, Woolf opposes the oppressive civilization which destroys our natural environment by offering a nostalgic vision of damaged trees and flowers. Woolf denies Cartesian dualism in connecting sanity and insanity that Clarissa and Septimus represent respectively, choosing rather to obscure the division between nature and culture. Trees in Mrs. Dalloway represent the nexus between human and non-human beings and epitomize their interdependence within one ecosystem. Woolf illustrates an holistic ecosystem through Septimus’ revelation, “Men must not cut down trees” and Clarissa’s transcendental theory. A reconsideration of Mrs. Dalloway as thus linked with ecofeminism provides an opening to an environmental ethics in conjunction with Woolf’s feminism.

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.

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.

브라운부인의 『시간들』: 마이클 커닝햄이 재현한 『댈러웨이 부인』

김희선 ( Hee Sun Kim ) 한국영미문화학회 2013 영미문화 Vol.13 No.1

Patricia Waugh once regarded modernism fiction as ``the struggle for personal autonomy`` against the opposition existing social institutions and conventions. Michael Cunningham`s characterizations of Virginia Woolf and Septimus in The Hours show the two contrasting reactions to individual alienation and mental dissolution in the modern era. As the personifications of endurance and self-destruction against the mechanical power of contemporary world, Woolf and Septimus consist of just the world of diptych where the woman`s role is confined to the angel in the house. By creating Mrs. Brown based upon his own alienated mother image, however, Cunningham succeeds in representing the more dramatically vivid world of triptych where woman can have her own room and self-realization despite still facing the dilemma of the traditional family. Accepting Joycean Bloom`s optimistic and relaxing way of life in part, Mrs. Brown connects the labyrinths between the author`s (and also Richard`s) alienation with the theme of celebration of the life. Clarissa in postmodern New York setting is still a concealed and mystified character. Similar to Mrs. Dalloway, on the one hand Clarissa watches other people`s tragedy with compassion. Cunningham`s Clarissa, on the other hand, is no longer seeking for either winning or defeat in the spectacular world unlike her predecessors. In many resilient attitudes of everyday life Clarissa is closest to Mrs. Brown whom Virginia Woolf originally hopes to describe. Without any fear or rage toward the society Clarissa witnesses and achieves “the humanity, humour, depth” of female values by successfully turning the trivial life into an epic journey.

『댈러웨이 부인』에 나타난 생성의 순간들: 니체 철학을 중심으로

김금주 한국제임스조이스학회 2018 제임스조이스저널 Vol.24 No.1

Woolf’s Mrs Dalloway shows the experience of modern city life. Clarissa Dalloway goes out into the streets in London to buy the flowers for her party, and expresses her impressions for the dynamic street. Her opinion, “creating it every moment afresh,” in the midst of feeling the dynamic energy and vitality of the street is related to the Nietzschean philosophy which asserts that only “becoming as invention, willing, self-denial, overcoming of oneself” is clear and meaningful. Nietzsche does not believe the essential nature, and asserts that there is only something non-identical, changing, in flux which does not aim at a final state, does not flow into being--becoming. Therefore according to Nietzsche there is no truth itself; there is only interpretations. He asserts that the value of the world lies in our interpretation, and evaluation is creation, so men are creators. On the street of London, when Clarissa says “what she loved: life; London; this moment of June,” this “moment” is related to Nietzschean “moment” as becoming. Deleuze explains that this moment is not a terminal state, the present moment is not a moment of being or present ‘in the strict sense,’and it forces us to think of becoming. Clarissa experiences this moment as becoming with delight, but a certain fear lurks in her delightful state of mind. Thus we can see Clarissa’s affirmation of becoming in the process of Clarissa’s overcoming what makes her fear. The narrative of Clarissa’s self-creation parallels the narrative of Septimus in Mrs. Dalloway. The narrative of Septimus deepens the theme of moments of becoming in Mrs. Dalloway. Clarissa and Septimus actually do not see each other. But Clarissa goes through suffering and overcomes it through the accidental encountering with him by getting the news about his suicide in her party. This accidental encountering as her significant experience of the moment brings Clarissa to new awakening and gives her an impetus for her affirmation of her life. Paying attention to the process of Clarissa’s affirmation of her life, Woolf shows that Clarissa obtains Nietzsche’s formula “to stand in a Dionysian relationship to existence”--“amor fati.” 『댈러웨이 부인』은 런던을 중심으로 전개되는 근대 도시인의 경험을 보여준다. 클러리사 댈러웨이는 파티를 준비하기 위해 꽃을 사러 런던 거리로 나가고, 역동적인 거리의 모습 대한 자신의 인상을 표출한다. 거리의 역동적인 힘과 활력을 느끼며 “매순간 새롭게 삶을 창조”한다고 하는 클러리사의 주장은 “고안해 내고, 의욕하고, 자기를 부정하고, 자기를 극복하는 것으로서의 생성”만이 확실하고 의미 있는 것이라고 주장하는 니체의 철학과 닿아있다. 니체는 절대적인 본질을 믿지 않는다. 니체는 유일하게 보장되어 있는 것은 변화하는 것, 스스로와 비동일적인 것이며, 어떤 최종의 상태를 목표로 두지 않는 유동적인 것이라고 단언한다. 그러므로 니체에 의하면 진리 자체는 없고, 오직 해석만이 있을 뿐이다. 니체는 세상의 가치도 우리의 해석에 기인하며, 가치평가가 창조이므로 인간은 창조하는 자들이라고 주장한다. 런던 거리에서 클러리사가 “그녀가 사랑하는 것이 있었다. 삶이, 런던이, 유월의 이 순간이”라고 했을 때, 이 “순간”은 니체가 말하는 생성으로서의 “순간”과 유사한 것이다. 들뢰즈에 의하면 니체의 이 순간은 최종적인 상태를 가정하고 있지 않으며, 존재의 단 한 순간도, ‘엄밀한 의미에서’ 현재의 순간도 아니다. 이것은 우리에게 생성을 사유하도록 하는 것이다. 클러리사는 이러한 생성으로서의 순간을 역동적이고 활력 있는 것으로 느끼지만, 다른 한편 불안하게 이 순간에 대응한다. 그리고 클러리사는 그녀를 불안하게 하는 요소들을 극복해나가면서 자신의 삶을 긍정하고 그 삶을 조형해 나가게 된다. 클러리사의 이야기는 셉티머스의 이야기와 나란히 전개되고 있는데, 셉티머스의 이야기는 『댈러웨이 부인』에서 나타난 생성의 순간들에 관한 주제를 더 심화시키고 있다. 사실 두 사람은 실제로 만나는 일이 없지만, 클러리사는 그녀의 파티에서 셉티머스의 자살 소식에 대해 듣게 되면서 그와 우연한 만남을 통해 그녀는 고통을 느끼지만 동시에 그 고통을 극복하는 과정을 경험하게 된다. 순간의 의미 있는 경험으로서 이러한 우연한 만남은 그녀에게 새로운 자각을 가져오고, 그녀가 자기의 삶을 긍정할 수 있게 하는 추동력을 제공한다. 그리고 클러리사는 다시 자신의 삶을 긍정하게 된다. 울프는 클러리사가 자신의 삶을 긍정하게 되는 과정에 주목하면서, 클러리사는 니체가 주장한 “삶에 디오니소스적으로 마주 선다는 것에 대한 나의 정식”인 “운명애”의 태도를 견지하게 된다는 것을 보여준다.

Why Beauty Matters in Mrs. Dalloway and To the Lighthouse: The Importance of Aesthetic, Erotic, and Political Pauses

( Joori Lee ) 한국영미문학페미니즘학회 2021 영미문학페미니즘 Vol.29 No.3

Literary criticism of the past several decades has often downplayed the importance of beauty, pleasure, and aesthetic enchantment presented in Woolf’s writings. In reaction to the pervasive denigration of beauty in academic environments, political studies of Woolf have tried to emphasize the writer’s political achievements and extract political messages from the highly aesthetic surfaces of her texts by evading the question of beauty. However, the rejection of beauty when reading Woolf’s writings can prohibit readers from understanding the importance of the moments of beauty expressed in such aesthetic surfaces, which is the core achievement of this writer. My contention is that the scholarly evasion becomes an “escapist” act stemming from the fear that seeking beauty is an apolitical stance. As a matter of fact, the scenes of beauty included in Woolf’s writings serve to express pure aesthetic enchantment and pursuit of pleasure in the aesthetic subjects, who might be called “homo aestheticus,” referring to human individuals who pursue artistic activities for the fulfillment of essential human needs and for human survival. Simultaneously, the moments of beauty can encourage political activism by inviting readers to recognize the sociocultural terrain which becomes hostile to aesthetic subjects by forcing them to renounce their fascination with beauty and pleasure. By focusing on Mrs. Dalloway (1925) and To the Lighthouse (1927), distinguished by the writer’s portrayal of the aesthetic subjects, Clarissa Dalloway and Mrs. Ramsay, female protagonists who exhibit extreme fascination with beauty, this article reconsiders why beauty matters to them and articulates the aesthetic, erotic, and political significance of the moments.

Against Euphemism in Mrs. Dalloway: Virginia Woolf, the Psychiatrist, and the Lies

( Joori Lee ) 한국제임스조이스학회 2018 제임스조이스저널 Vol.24 No.2

During the First World War, British social elites invented a style of euphemism in which the horror of war is concealed. As a historical witness who saw the terror of the Great War and the progress of euphemism, Virginia Woolf attacked the political usage of euphemism, especially in terms of war and trauma. Composed in the post-World War I period, Mrs. Dalloway (1925) conveys Woolf’s opposition to euphemism harnessed to disguise the true qualities of war and wound. In approaching the matter of euphemism, the fiction offers two divided groups of people, patients and doctors, and presents distinctions between their rhetorical styles; the doctors depend on euphemism while the patients avoid it. The novel suggests that the doctors’ usage of euphemism stems from sinister desires: the intention to hide the wounds of World War I and the intention to neglect ethical obligations toward patients and war victims. By focusing on Mrs. Dalloway, this paper examines Woolf’s critiques of war-related euphemism, a particular form of euphemism valorized to conceal the cruelties of war and re-victimize the patients affected by illness and trauma in the postwar climate. One assumption in this paper is that Woolf’s sexual trauma and the post-traumatic illness might have affected her complex attitudes toward war-related euphemisms. In the process of illuminating the link between trauma and euphemism, the present discussion also attends to Woolf’s autobiographical writings which raise the convoluted issues of war, post-traumatic disease, and euphemism.