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The purpose of this article is to investigate the maternal fantasies and the construction of Hal's subjectivity in Henry Ⅳ, Parts 1 & 2 in light of Freudian psychoanalytic feminism, the cultural discourses and material practices.
In respect to the psychoanalysis, the patriarchal male subjects in Shakespearean dramas constitute their subjectivities in relation to a fantasized pre-oedipal maternal. The pre-oedipal is an unconscious psycho-sexual structure, in which the attachment to and fantasies about the mother are predominant. Especially the maternal matrix is an object of fears of engulfment and suffocation to infants psychologically and culturally. So the maternal on the pre-oedipal stage is considered to be an object to be feared to infants. However the patriarchal males must constitute their subjectivities through the shift from the pre-oedipal to the oedipal.
According to the psychoanalytic concept of the pre-oedipal, and Bakhtin's paradigm of the "grotesque" on female reproductive body that was operative throughout early modem culture, I want to situate Falstaff as the pre-oedipal maternal character oppressed and rejected in the process of the construction of Hal' subjectivity. Prince Hal's subjectivity is constituted in his relation to Falstaff, whose somatic iconography metonymically positions him as fantasized pre-oedipal maternal, against whom Hal must differentiate.
Falstaff regarded as a "grotesque" maternal body which must be repudiated is displaced by Katharine, while she is considered as the closed "classical" body. Because Falstaff represents to Hal a projected fantasy of the pre-oedipal maternal, whose rejection is the basis upon which Hal's patriarchal subjectivity is predicated.
In the process of the oedipal rejection of the maternal and the identification with the paternal, Hal finally rejects Falstaff. In a word, Falstaff is constructed in order to be repudiated or subjugated as the basis upon which Prince Hal assumes the patriarchal control as King Henry Ⅴ.
In conclusion, the Shakespearean history deals with the maternal fantasies and the construction of the male subjectivity in his own ways. All this results from the male subject' anxious unconscious upon which the construction of the male subject depends. This psychoanalytic interpretation of Shakespeare can be a significant way of finding a delicate aspect that the author is very skillful with the profound themes of the unconscious and the cultural influence upon the human beings.
In respect to the psychoanalysis, the patriarchal male subjects in Shakespearean dramas constitute their subjectivities in relation to a fantasized pre-oedipal maternal. The pre-oedipal is an unconscious psycho-sexual structure, in which the attachment to and fantasies about the mother are predominant. Especially the maternal matrix is an object of fears of engulfment and suffocation to infants psychologically and culturally. So the maternal on the pre-oedipal stage is considered to be an object to be feared to infants. However the patriarchal males must constitute their subjectivities through the shift from the pre-oedipal to the oedipal.
According to the psychoanalytic concept of the pre-oedipal, and Bakhtin's paradigm of the "grotesque" on female reproductive body that was operative throughout early modem culture, I want to situate Falstaff as the pre-oedipal maternal character oppressed and rejected in the process of the construction of Hal' subjectivity. Prince Hal's subjectivity is constituted in his relation to Falstaff, whose somatic iconography metonymically positions him as fantasized pre-oedipal maternal, against whom Hal must differentiate.
Falstaff regarded as a "grotesque" maternal body which must be repudiated is displaced by Katharine, while she is considered as the closed "classical" body. Because Falstaff represents to Hal a projected fantasy of the pre-oedipal maternal, whose rejection is the basis upon which Hal's patriarchal subjectivity is predicated.
In the process of the oedipal rejection of the maternal and the identification with the paternal, Hal finally rejects Falstaff. In a word, Falstaff is constructed in order to be repudiated or subjugated as the basis upon which Prince Hal assumes the patriarchal control as King Henry Ⅴ.
In conclusion, the Shakespearean history deals with the maternal fantasies and the construction of the male subjectivity in his own ways. All this results from the male subject' anxious unconscious upon which the construction of the male subject depends. This psychoanalytic interpretation of Shakespeare can be a significant way of finding a delicate aspect that the author is very skillful with the profound themes of the unconscious and the cultural influence upon the human beings.
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참고문헌 (34)
참고문헌 신청
[단행본] - 스탤리브래스, 피터 / 1997 / 바흐친과 문화사회사 (바흐친과 문화 이론) / 서울: 문학과 지성사
[단행본] - Adelman, Janet / 1987 / Born of Woman’: Fantasies of Maternal Power in Macbeth (Cannibals, Witches, and Divorce: Estranging the Renaissance) / Baltimore: Johns Hopkins UP : 90 ~ 121
[단행본] - Auden, W. H. / 1962 / The Prince’s Dog (The Dyer’s Hand and Other Essays) / New York: Random House : 195 ~ 200
[단행본] - Bakhtin, Mikhail / 1984 / Rabelais and His World / Bloomington: Indiana UP
[단행본] - Barber, C. L / 1963 / Shakespeare’s Festive Comedy: A Study of Dramatic Form and Its Relation to Social Custom / New York: Princeton UP
[단행본] - Adelman, Janet / 1987 / Born of Woman’: Fantasies of Maternal Power in Macbeth (Cannibals, Witches, and Divorce: Estranging the Renaissance) / Baltimore: Johns Hopkins UP : 90 ~ 121
[단행본] - Auden, W. H. / 1962 / The Prince’s Dog (The Dyer’s Hand and Other Essays) / New York: Random House : 195 ~ 200
[단행본] - Bakhtin, Mikhail / 1984 / Rabelais and His World / Bloomington: Indiana UP
[단행본] - Barber, C. L / 1963 / Shakespeare’s Festive Comedy: A Study of Dramatic Form and Its Relation to Social Custom / New York: Princeton UP
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