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자료유형
학술저널
저자정보
이미영 (백석대학교)
저널정보
한국셰익스피어학회 Shakespeare Review Shakespeare Review Vol.43 No.3
발행연도
2007.9
수록면
477 - 500 (24page)

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This paper argues that literary genres are the historical constructions subject to economic, political, and social changes of the given period. Romantic love is also a historically constructed ideology serving different political purposes in different stages of society. Hence this paper is a study of the way romantic ideology is politically appropriated in the poetry, prose fiction, and drama genres of the Elizabethan period, proving the historicity and politics of the literary genres. Elizabethan England was a society where every political activity including literary writings was made in erotic languages. The reign of the Virgin Queen who was the only source of favours and who exploited the strategy of courtship herself was the ultimate object of amorous courtship of her ambitious subjects. Thus in the 1590's when the cult of Elizabeth was at the highest, many literary genres including love sonnets, romantic comedies, and prose fictions participated in the courtship politics of the age. Love sonnet was a genre where the Petrarchan love language was used to express the poet's political ambition and frustration. The manuscript circulation of the sonnets also helped to enhance the political agenda of the genre, making it possible to be read and understood politically among coterie readers. Deloney's prose fiction appropriated the ideology of romantic love to establish the political identity and class consciousness of the middle class. Emphasizing the middle class orientation of the genre, Deloney used the love motif to construct the bourgeois male subject and to enhance the middle class pride and identity. Shakespeare's romantic comedy, on the other hand, is a genre that can't afford to slant to a certain class or a particular ideology. In a commercial theater with every class of audience, Shakespeare's romantic comedy used the love motif to explore the woman questions of the age, leaving the play full of ambiguity and ambivalence, proving the dynamic politics of the drama genre.

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