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논문 기본 정보
- 자료유형
- 학술저널
- 저자정보
- 발행연도
- 2006.6
- 수록면
- 317 - 337 (21page)
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This paper argues that a motif of adultery provides a most useful perspective to examine the paradigm of containment and subversion in Renaissance dramas. In the past thirty years or so, subversion/containment was a paradigm that has dominated the critical writings on Renaissance Drama. As has been pointed out by many critics, especially by feminists, containment or subversion was not an immovable conclusion on a given drama but an ever changing paradigm that was constantly tested and challenged in a drama. In the early modem England, adultery was a most subversive crime that could destroy not only a family but also the whole society that relied heavily on the ideology of patriarchy. Though patriarchy allotted woman only to a peripheral position, paradoxically it depended on woman's chastity for its very existence and tried hard to control woman's sexuality within the institution of family. On the other hand adultery meant that woman could use her body and her sexuality to her own liking, thus winning agency and freedom not possible in a normal family structure. Therefore adultery could be used both as a most subversive device proving woman's position as a subject and also as a most oppressive device to control woman's sexuality within the patriarchal ideology. In the three tragedies that have been examined in this paper, a motif of adultery is sometimes used for an ostensibly didactic, conservative ideology only to prove to be ambiguously subversive, or conversely, the adultery motif promises to be most subversive but turns out to support a rather conservative ideology. In Titus Andronicus, Tamara's adultery shows every symptom of an unruly woman, driving Titus's family and the whole society of Rome into tragedy. Thus it is used in the most subversive frame, but the simplified representation of Tamora weakens her dramatic power, undermining the subversiveness of her adultery. In Arden of Faversham, Alice Arden's adultery is ostensibly for the didactic purpose and is therefore used as a device of containment. But this conservative ideology does not wholly nullify the subversive energy exploded in the brief moment of adultery, making this play oscillate between containment and subversion. In A Woman Killed with Kindness, Anne's adultery is also used for a didactic purpose by showing the terrible punishment to the adulteress, but the text also endorses the ambiguousness of this punishment and instead, questions the ideology of a companionate marriage itself.
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