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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
- 2002.6
- 수록면
- 265 - 283 (19page)
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The purpose of this paper aims at revealing the patriarchal myth in Cymbeline, a romance in early modern England. The genre of romance can be political, mythologizing the father/ruler figure naturally. Cymbeline's power is expressed in terms of family, the father's power being the only natural power. But the monarch's power is situated at a higher nature to which the common father's power is subordinated by showing the conflict between paternalism and political patriarchy.
Cymbeline is an extraordinarily complicated play, set in prehistoric Britain(Roman Britain) and written in the early modem period of England, when the national identity was being formed. In relation to Britain, Rome can be considered as symbolically cultural parents because Britain starts to use the letters owing to Rome. For Cymbeline, Rome is also a symbolic father because he grew up in Rome and took a knightship from Augustus Caesar. However, Cymbeline refuses to pay tribute to Rome, moved by the Queen's patriotic speech. Cymbeline's Queen recalls the nation's glorious past and its independence although she is hardly a figure of national respectability. However, her nationalist speech makes Cymbeline decide to wage a war against Rome. She is strikingly similar to the ancient British Queen, Boadicea, who opposed the Roman conquerors and ultimately took her own life. Like the wicked Queen, Boadicea was famous for her nationalist speech on freedom and resistance to tyranny. Both are the figures who aim to break civilized("Romanized") male bonding, and must be eventually eliminated for the restoration of it.
Imogen, unlike the wicked Queen, is represented as an idealistic figure. She is the symbolic icon of pure Britishness. In contrast to Queen's radical "Britoncentricism", Imogen considers Britain as a small part of a larger world, a world separated from the civilized Continent. After taking male disguise, she becomes a page of Lucius, Roman General, even though she is the heir of the Roman Britain. She helps the male characters regain symbolic male bonds. However, she herself who was the only heir to the kingdom at the beginning of the play, is displaced by two regained princes at the end.
After many reversals, Cymbeline agrees to pay tribute to Rome and announces his submission to the Roman emperor. Queen's death magically restores Cymbeline's autonomy and male bond. Queen's death and regained male bond are legitimated by the divine power. But there still remains a dilemma about the Queen's patriotic speech considering the national identity because Cymbeline's reconciliation with Rome seems to sacrifice national autonomy and independence at the expense of symbolic male bonding.
Cymbeline is an extraordinarily complicated play, set in prehistoric Britain(Roman Britain) and written in the early modem period of England, when the national identity was being formed. In relation to Britain, Rome can be considered as symbolically cultural parents because Britain starts to use the letters owing to Rome. For Cymbeline, Rome is also a symbolic father because he grew up in Rome and took a knightship from Augustus Caesar. However, Cymbeline refuses to pay tribute to Rome, moved by the Queen's patriotic speech. Cymbeline's Queen recalls the nation's glorious past and its independence although she is hardly a figure of national respectability. However, her nationalist speech makes Cymbeline decide to wage a war against Rome. She is strikingly similar to the ancient British Queen, Boadicea, who opposed the Roman conquerors and ultimately took her own life. Like the wicked Queen, Boadicea was famous for her nationalist speech on freedom and resistance to tyranny. Both are the figures who aim to break civilized("Romanized") male bonding, and must be eventually eliminated for the restoration of it.
Imogen, unlike the wicked Queen, is represented as an idealistic figure. She is the symbolic icon of pure Britishness. In contrast to Queen's radical "Britoncentricism", Imogen considers Britain as a small part of a larger world, a world separated from the civilized Continent. After taking male disguise, she becomes a page of Lucius, Roman General, even though she is the heir of the Roman Britain. She helps the male characters regain symbolic male bonds. However, she herself who was the only heir to the kingdom at the beginning of the play, is displaced by two regained princes at the end.
After many reversals, Cymbeline agrees to pay tribute to Rome and announces his submission to the Roman emperor. Queen's death magically restores Cymbeline's autonomy and male bond. Queen's death and regained male bond are legitimated by the divine power. But there still remains a dilemma about the Queen's patriotic speech considering the national identity because Cymbeline's reconciliation with Rome seems to sacrifice national autonomy and independence at the expense of symbolic male bonding.
목차
1. 들어가는 말
2. 가부장의 신비화
3. 가부장 신화의 강화 : 이모젠과 왕비
4. 맺음말
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Abstract
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