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논문 기본 정보
- 자료유형
- 학술저널
- 저자정보
- 발행연도
- 2004.3
- 수록면
- 41 - 65 (25page)
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Shakespeare's representation is in essence a misrepresentation because it depicts a mutable world of fiction. Misrepresentation presupposes a distance and a gapping between the signifier and the signified. Things as they are, if there are such things, are only made visible through representation. Representation through language is itself already always a misrepresentation. The Puritans and the anti-theatricalists condemn the stage as morally corrupt and infectious plague for its misrepresentation of things as they are. However, Shakespearean misrepresentation is very positive in that it suggests by its very misrepresentation the order of things as it should be. While it tries to re-orient the present order of things to the ideal norm, misrepresentation is conservative and corrective. On the other hand, when it functions to suggest the distance and disproportion between the ideal and the real, it subverts the status quo. Shakespeare's comedies take advantage of this double-edged sword of misrepresentability by using such dramatic devices as dissembling, masking, cross-dressing, doubling, and bed-tricks.
Shakespeare represents these two kinds of misrepresentation in Twelfth Night. Sir Toby, with his troupe, provokes Malvolio's mis-guided desires by misrepresenting Olivia's false epistle. Misrepresentation debunks by its very falsity Malvolio's "false" desire to marry up and dominate over his household. Here misrepresentation represents the wrongness of desire stimulated by it. Malvolio is both a kind of an actor and the audience caught up by the air of pestilent performances in the theater. Malvolio's humorous and over-ruling desire is condemned as madness. Feste the clown, dissembling as the curate Sir Topas, makes a fool of Malvolio through his mock ritual of exorcism. Misrepresentation both provokes desires and punishes them at the same time. Malvolio is both a representative and a misrepresentative of the social mobility in Shakespeare's England. Unlike Malvolio, Viola actively misrepresents herself as Caesario. By usurping her gender and identity, she also provokes Olivia's desire of love and derives her out of her autic self. Viola's virtue lies not in her birth but in her performances of misrepresentation. Olivia's falling in love with a misrepresentation and her marriage represent the very power of representation! misrepresentation. Thus Shakespeare represents by his misrepresentations in Twelfth Night the emergent social mobility and flexibility of men's identity. Imaginative literature, unlike other literary genres, posits its raison d'etre by virtue of misrepresentation. Misrepresentation is simultaneously a grace and a curse as its literary history shows.
Shakespeare represents these two kinds of misrepresentation in Twelfth Night. Sir Toby, with his troupe, provokes Malvolio's mis-guided desires by misrepresenting Olivia's false epistle. Misrepresentation debunks by its very falsity Malvolio's "false" desire to marry up and dominate over his household. Here misrepresentation represents the wrongness of desire stimulated by it. Malvolio is both a kind of an actor and the audience caught up by the air of pestilent performances in the theater. Malvolio's humorous and over-ruling desire is condemned as madness. Feste the clown, dissembling as the curate Sir Topas, makes a fool of Malvolio through his mock ritual of exorcism. Misrepresentation both provokes desires and punishes them at the same time. Malvolio is both a representative and a misrepresentative of the social mobility in Shakespeare's England. Unlike Malvolio, Viola actively misrepresents herself as Caesario. By usurping her gender and identity, she also provokes Olivia's desire of love and derives her out of her autic self. Viola's virtue lies not in her birth but in her performances of misrepresentation. Olivia's falling in love with a misrepresentation and her marriage represent the very power of representation! misrepresentation. Thus Shakespeare represents by his misrepresentations in Twelfth Night the emergent social mobility and flexibility of men's identity. Imaginative literature, unlike other literary genres, posits its raison d'etre by virtue of misrepresentation. Misrepresentation is simultaneously a grace and a curse as its literary history shows.
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