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- 자료유형
- 학술저널
- 저자정보
- 발행연도
- 2003.3
- 수록면
- 81 - 101 (21page)
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Shakespeare in his dramas creates various woman characters who are the ideal women he forges in his magical pen. But the woman characters have been criticized as the different or contrary characters on a same character in text. Of the characters, Ophelia and Gertrude in Hamlet have reproduced the most colorful images beyond a time and space, which have brought a lot of points of argument. The main controversial issues are Ophelia's self-confidence and Gertrude's lust and virtue.
Critics and films in the seventeenth and eighteenth century tend to ignore or pass over Ophelia's self-confidence, mainly because of her dependent personality and the woman status of the society. In modern criticism, however, Ophelia has been appreciated as a self-confident character but her self-confidence is ignored or effaced by others, and transfigured to a woman who is bold enough to have the courage to express her opinion and to show her sexual scenes on the recent film productions. On the other hand, Gertrude's words and actions in text create not the lusty, lascivious Gertrude that one meets on film productions in our time, but a malleable woman who seems to be virtuous and solicitous of others at the expense of her.
Woman characters transfigured in text criticism and on films are the productions of the way of living as an individual. One living through modern world seems to have a strong interest in progressive and business mind as a way of living, compared with the one who lived in the seventeenth century and was mainly dependent on physical power for his life. But the woman characters on films are still focused on their passion, which may bring the effects of synergy in economic concerns. Therefore Shakespeare's woman character modern text critics are interested in is not the one like Cleopatra on films, who sublimates passion as the positive ability for woman, but the one like Miranda who is an independent and progressive woman. Films compared to textual criticism have the limits in presenting thoughts and insight to lead the society they are living in.
Critics and films in the seventeenth and eighteenth century tend to ignore or pass over Ophelia's self-confidence, mainly because of her dependent personality and the woman status of the society. In modern criticism, however, Ophelia has been appreciated as a self-confident character but her self-confidence is ignored or effaced by others, and transfigured to a woman who is bold enough to have the courage to express her opinion and to show her sexual scenes on the recent film productions. On the other hand, Gertrude's words and actions in text create not the lusty, lascivious Gertrude that one meets on film productions in our time, but a malleable woman who seems to be virtuous and solicitous of others at the expense of her.
Woman characters transfigured in text criticism and on films are the productions of the way of living as an individual. One living through modern world seems to have a strong interest in progressive and business mind as a way of living, compared with the one who lived in the seventeenth century and was mainly dependent on physical power for his life. But the woman characters on films are still focused on their passion, which may bring the effects of synergy in economic concerns. Therefore Shakespeare's woman character modern text critics are interested in is not the one like Cleopatra on films, who sublimates passion as the positive ability for woman, but the one like Miranda who is an independent and progressive woman. Films compared to textual criticism have the limits in presenting thoughts and insight to lead the society they are living in.
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