현대 여성작가들의 셰익스피어 다시쓰기 : 제인 스마일리의 『천 에이커』와 안젤라 카터의 『현명한 아이들』을 중심으로

다국어 초록 (Multilingual Abstract)

Contemporary Women Writers' Rewriting of Shakespeare:
Jane Smiley's A Thousand Acres and Angela Carter's Wise Children

Haeja Do
Department of English Literature
Graduate School
Hankuk University of Foreign Studies

This dissertation examines the ways the contemporary novelists Jane Smiley and Angela Carter rewrite Shakespeare in A Thousand Acres and Wise Children respectively. Smiley's and Carter's rewritings are among feminist revisionist tasks. When it comes to re-visioning Shakespeare, feminist rewriters get female characters out of such traditional plots as doom them to an oppressive marriage or death, demythologizing male heroism and female martyrdom as well. Alternatively, they seek to envision and revision figures who remain silent, marginalized, or demonized in the original Shakespeare.
As a contemporary rewriting of King Lear, Smiley's A Thousand Acres focalizes the 'evil' daughters in King Lear, whose titular character is Lear, the patriarch of a family and a nation. Through focalizing the daughters Smiley offers the daughters' repressed or unacknowledged story in Shakespeare's text and a radical critique of the culture that produced Lear/Larry. King Lear gives no explanation for the two daughters' cruelty to their father. A Thousand Acres makes its major change by making up a plausible motive for the girls' action. Smiley's novel throws into sharp relief the patriarch's sexual abuse of daughters and patriarchal family cultures that have made it possible.
Smiley powerfully adopts an ecofeminist perspective. Ecofeminists argue that Western patriarchism has seen women and nature as lesser entity than men and culture, and this dualistic and hierarchial way of thinking has justified and promoted the exploitation of both women and nature. In Smiley's A Thousand Acres patriarchs exploited animal, land, and women for their 'proud progress'. Patriarchs' abuse at them has had disastrous consequences for women, nature, and men themselves in the end.
While Smiley's rewriting focuses on Shakespearean tragedy King Lear, Carter attempts to deconstruct and transform the British cultural hero, Shakespeare as well as Shakespearean romantic comedy A Midsummer Night's Dream. Rewriting A Midsummer Night's Dream, Carter suggests that the Court of Oberon and Titania has been idealized over the centuries. For Carter the fairy world Oberon dominates is nothing other than oppressive patriarchal society. Whereas the fairy queen Titania becomes submissive to Oberon in the play, Daisy Duck/Titania doesn't in the novel. And Carter transforms the Shakespearean triple marriage plot. The triple wedding arranged by Oberon in the play is mocked and proves never to be accomplished in the novel. Carter exposes what lies behind the scenes, leading to de-romanticizing the play.
Carter puts the marginalized daughter's experiences and desires at the heart of Wise Children. In the novel the daughter seeks and longs for paternity. This very action ends up with a comic debunking of paternal power, serves to clear a space for new voices, new visions of a maternal family, and gives the Chances a happier alternative to Shakespearean family romances. Wise Children problematizes the hegemonic accounts of familial and cultural legitimacy.
Wise Children criticizes the way in which British imperialism and patriarchy appropriated Shakespeare and cast him as a founding myth in their own image. The collapse of this cultural imperialism is articulated with the fall of Ranulph and Melchior, two patriarchs of the Hazard family, who represent bardolatry and legitimate Shakespearean theatre. Wise Children challenges the long history in which the British have been obsessive in dividing British culture into high and low and fashioning Shakespeare as a symbol of high culture. Carter's re-imagining of Shakespeare shows her affirmation of popular culture, of the rude health of popular language and humor as a long-lasting, effective means of survival, much of which are found in Shakespeare.
Smiley's and Carter's rewriting are to surface what have been ignored, left out or suppressed in Shakespeare and Shakespearean criticism. In that sense they are subversive. If rewriting is a process of rereading, reinterpretation, and reconstruction, their rewritings also seek out various meanings of Shakespeare's texts, confirming the openness and presentivensss of Shakespeare. However, they may suppress other voices, with the unwitting result of limiting Shakespearean variety.

목차 (Table of Contents)

• 서론 1
• 제 1장. 여성작가들의 다시쓰기 전략 13
• 제 2장. 제인 스마일리의 『천 에이커』: 『리어왕』 다시쓰기 27
• 1. 딸의 초점화 27
• 2. 에코페미니즘적 재구성 55
• 제 3장. 안젤라 카터의 『현명한 아이들』: 셰익스피어 재해석 92
• 1. 낭만희극의 탈낭만화 92
• 2. 새로운 가족 로맨스 117
• 3. 셰익스피어 탈신화화 146
• 결론 175
• 인용문헌 180
• ABSTRACT 194