『뜻대로 하세요』 와 『십이야』 에 나타난 동성애 재현

다국어 초록 (Multilingual Abstract)

I propose that Shakespearean comedies, As You Like It and Twelfth Night display a homoerotic circulation of desire which is elicited, exchanged, negotiated, and displaced when it confronts the pleasures and anxieties of its meanings in early modern culture. The circulation of homoerotic desire in As You Like It and Twelfth Night occurs when Rosalind and Viola are cross-dressed. There are some differences between the representations of As You Like It and Twelfth Night.
The homoeroticism of As You Like It is playful in the terms of her breaking into the dual mode of desire. As long as Rosalind/Ganymede is such a dual sexual object as simultaneously heterosexual and homoerotic one, Orlando’s effusion of desire toward her/him prevents the stable reinstitution of heterosexuality, on which the patriarchal marriage plot depends. By interrupting the arbitrary binarism of the heterosexual contract, male homoeroticism transgresses the erotic imperative of patriarchism. In spite of the temporal transgression, Hymen in the end concludes the play in terms of the “mock” marriage, which enacts only an ambivalent closure.
On the other hand, the homoeroticism of Twelfth Night is anxious and strained. This paper explores a diversity of desire: Viola/Cesario’s dual desire for Olivia and Orsino; Orsino’s ambivalent interest in Viola/Cesario; Sebastian’s responses to Olivia and Antonio; and finally, Antonio’s exclusive erotic wish for Sebastian. Though the play proceeds with erotic plurality as far as it can, it fixes the homoerotic interest onto a marginalized figure, Antonio in the face of anxiety generated by various desires. Antonio is sacrificed for the maintenance of institutionalized heterosexuality. The erotic pleasure in Twelfth Night is explored and sustained until it collapses into fear of erotic exclusivity. In conclusion, the ways Shakespearean patriarchal subjects negotiate for erotic agency within a social, political, and aesthetic field of constraints imply the possibilities and limitations of our own erotic negotiations.

목차 (Table of Contents)

• Ⅰ.『뜻대로 하세요』에 나타난 동성애 봉쇄
• Ⅱ. 『십이야』에 나타난 동성애 봉쇄
• Ⅲ. 결론
• Abstract

참고문헌 (Reference)

1 Rubin, Gayle, "Thinking Sex: Notes for a radical Theory of the Politics of Sexuality,” Pleasure and Danger: Exploring Female Sexuality" Routledge and Kegan Paul 1984

2 Pequiney, Joseph, "The Two Antonios and Same-Sex Love in Twelfth Night and The Merchant of Venice" 22 (22): 201-221, 1992

3 Osborne, Laurie, "The Texts of Twelfth Night"

4 Foucault, Michel, "The History of Sexuality Vol. 1" Random House 1978

5 Trumbach, Randolph, "The Birth of the Queen: Sodomy and the Emergency of Gender Equality in Modern Culture 1660-1750, Hidden from History: Reclaiming the Gay and Lesbian Past" New American Library 1989

6 Shakespeare, William, "The Arden Shakespeare: Twelfth Night" Routledge 1988

7 Shakespeare, Willia, "The Arden Shakespeare: As You Like It" Routledge 1987

8 Barber,C.L, "Shakespeare’s Festive Comedy:A Study of Dramatic Form and Its Relation to Social Custom" Princeton UP 1963

9 Greenblatt,Stephen, "Shakespearean Negotiations:The Circulation of Social Energy in the Renaissance England" Clarendon P 1988

10 Orgel, Stephen, "Nobody’s Perfect: Or Why Did the English Stage Take Boys for Women?" 88 : 7-29, 1989

11 Freud, Sigmund, "Leonardo da Vinci and a memory of his childhood" 11 : 59-137, 1910

12 Saslow, James, "Ganymede in the Renaissance: Homosexuality in Art and Society" Yale University 1986

13 Greenblatt, Stephen, "Fiction and Friction, In Shakespearean Negotiations: The Circulation of Social Energy in Renaissance England" Clarendon P 66-93, 1988

14 Traub,Valerie, "Desire and Anxiety: Circulations of Sexuality in Shakespearean Drama" Routledge 1992

15 Howard, Jean. E, "Cross-dressing, the Theatre, and Gender Struggle in Early Modern England" 39 (39): 418-440, 1988

16 Rackin, Phyllis, "Androgyny, Mimesis, and the Marriage of the Boy-heroine on the English Renaissance Stage" 102 : 1987

17 Montrose, Louis, "A midsummer Night’s Dream and the Shaping Fantasies of Elizabethan Culture: Gender, Power, Form, New History criticism and Renaissance Drama" Longman 109-130, 1986