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학술연구/단체지원/교육 등 연구자 활동을 지속하도록 DBpia가 지원하고 있어요.
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연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
논문 기본 정보
- 자료유형
- 학술저널
- 저자정보
- 발행연도
- 2001.3
- 수록면
- 5 - 30 (26page)
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Leontes' jealousy is partly a revulsion against sex, which is equaled in The Winter's Tale with Original Sin, though he speaks not of illicit sexual encounters but of married love, perfectly licit and encouraged by religious precept. Women, however, end the innocent and sinless state of Leontes and Polixenes. There is an almost necessary burden of misogyny that accompanies heterosexual relations in Shakespeare, both in wooing and in marriage. In some way, all men are reenacting Adam's sin.
This is certainly true in Hamlet, where Gertrude's hasty marriage to Claudius, the brother of Hamlet's dead father leads to Hamlet's melancholy and sex nausea. Through the imagery of engulfment and swallowing suffocation the womb takes on a malevolent power quite divorced from the largely powerless women who might be supposed to embody it. For it is not embodied in any individual woman in whom it might be contained, the maternal malevolence of Hamlet and other plays invokes a primitive infantile terror derivative from the period when the mother or her surrogate was not seen as a whole and separate person, when she had the power to make or unmake the world and the self for her child. Furthermore, in Hamlet, Shakespeare's misogyny understands the mother's body brings death into the world by reimagining death consequent upon the fall as the legacy specifically of the sexualized maternal body of Eve in the Garden of Eden.
Despite his ostensible agenda of revenge, the main psychological task that Hamlet seems to set himself is not to avenge his father's death but to remake his mother: to remake her in the image of the Virgin Mother who could guarantee his father's purity and his own selfhood. And Hamlet attempts both to remake his mother as an enclosed garden in 3. 4 and to separate the father he idealizes from the rank corruption, working toward the desexualization of the matemal body and the recreation of a bodiless father embodied in the image of Hyperion Hamlet himself frequently invokes in the play, untouched by her contamination.
This is certainly true in Hamlet, where Gertrude's hasty marriage to Claudius, the brother of Hamlet's dead father leads to Hamlet's melancholy and sex nausea. Through the imagery of engulfment and swallowing suffocation the womb takes on a malevolent power quite divorced from the largely powerless women who might be supposed to embody it. For it is not embodied in any individual woman in whom it might be contained, the maternal malevolence of Hamlet and other plays invokes a primitive infantile terror derivative from the period when the mother or her surrogate was not seen as a whole and separate person, when she had the power to make or unmake the world and the self for her child. Furthermore, in Hamlet, Shakespeare's misogyny understands the mother's body brings death into the world by reimagining death consequent upon the fall as the legacy specifically of the sexualized maternal body of Eve in the Garden of Eden.
Despite his ostensible agenda of revenge, the main psychological task that Hamlet seems to set himself is not to avenge his father's death but to remake his mother: to remake her in the image of the Virgin Mother who could guarantee his father's purity and his own selfhood. And Hamlet attempts both to remake his mother as an enclosed garden in 3. 4 and to separate the father he idealizes from the rank corruption, working toward the desexualization of the matemal body and the recreation of a bodiless father embodied in the image of Hyperion Hamlet himself frequently invokes in the play, untouched by her contamination.
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