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논문 기본 정보
- 자료유형
- 학술저널
- 저자정보
- 발행연도
- 2001.6
- 수록면
- 245 - 279 (35page)
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This article aims at viewing Hamlet in a limited perspective, focusing on the political struggle between Hamlet and Claudius in the early modem court of Elsinore, a court characterized by the atmosphere of gazing, controlling and generalized espionage. Shakespeare's representation of Hamlet's political world recapitulates the change of the mechanisms of power from display to surveillance that enabled the creation of the modem statecraft in the English courts of Elizabeth I and James I. Formerly, the display of sovereign power was achieved by means of impressing the monarch's greatness on the subject-spectator. It was, in effect, a practice of setting the monarch, as it were, upon a public stage, but the 'king on stage' carried with it a serious risk. It generated in the monarch an anxiety that representation might become itself subversive, that his royal presence, his being subject to the common view, might be misconstrued by his subject-spectators. The new institution of surveillance arose from this anxiety and the need for recovering the sovereign's power of the gaze. In this respect, Foucault's theory of the reciprocal relation between power and knowledge forms a theoretical basis for the present study of Hamlet.
Hamlet links power with the ability to see and is structured in terms of multiple sights and perspectives in such a fashion that the hidden secrecy of others is disclosed to the gazing eye. Hamlet and Claudius share a common anxiety: both are well aware that they are both prying into each other's secrecy by gazing not only at outward behaviors but also into inward intentions and then by properly interpreting them for political purposes. Their attempts at finding "ocular proof' or admissible evidence necessary for conviction are part of their struggle for political advantage over each other. What is more important for Hamlet, therefore, is rather to find out the validity of the Ghost's revelation than to seek the best way of avenging the death of father. Claudius's most urgent
business is also to disclose the mask of Hamlet's "antic disposition" and to gather information on his "something which passes show." The play-within-a play, devised to seek access to the hidden secrecy of Claudius, is the turning point where Hamlet's gazing power takes over Claudius's by rendering Claudius the object of an accusing gaze. The process in which Hamlet secures power is none other than the process wherein he moves out of the position of the object gazed into the position of the gazing subject.
Hamlet links power with the ability to see and is structured in terms of multiple sights and perspectives in such a fashion that the hidden secrecy of others is disclosed to the gazing eye. Hamlet and Claudius share a common anxiety: both are well aware that they are both prying into each other's secrecy by gazing not only at outward behaviors but also into inward intentions and then by properly interpreting them for political purposes. Their attempts at finding "ocular proof' or admissible evidence necessary for conviction are part of their struggle for political advantage over each other. What is more important for Hamlet, therefore, is rather to find out the validity of the Ghost's revelation than to seek the best way of avenging the death of father. Claudius's most urgent
business is also to disclose the mask of Hamlet's "antic disposition" and to gather information on his "something which passes show." The play-within-a play, devised to seek access to the hidden secrecy of Claudius, is the turning point where Hamlet's gazing power takes over Claudius's by rendering Claudius the object of an accusing gaze. The process in which Hamlet secures power is none other than the process wherein he moves out of the position of the object gazed into the position of the gazing subject.
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