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학술연구/단체지원/교육 등 연구자 활동을 지속하도록 DBpia가 지원하고 있어요.
커뮤니티
연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
논문 기본 정보
- 자료유형
- 학술저널
- 저자정보
- 발행연도
- 2012.8
- 수록면
- 7 - 28 (22page)
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초록· 키워드
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This paper estimates the pivotal factors of elevating Henry James’s The Portrait of a Lady to a great ‘tragic’ novel by comparing the original text with its two adaptations, 1968 BBC drama and 1996 Campion’s film.
James’s The Portrait of a Lady focuses on Isabel’s consciousness and explores her growing awareness. Isabel often has a dread of herself because of her inner contradiction between her conscious commitment to individualism and an unconscious yearning for safety and stability. Through mid-night meditation (in chapter 42) and the last confrontation with Goodwood (inchapter55), Isabel, with the enlargement of consciousness and sudden awakening, affronts the source of her dread, confronts and overcomes it. Thereby she becomes a tragic heroine.
This theme is overlooked in the two adaptations for their own appropriation. BBC drama simplifies the original text to a fairytale-like love story. It ends with Isabel’s wail who realizes Ralph’s true love at his death bed, omitting the next story crucial to her life. Campion’s film narrows Isabel’s consciousness into her consciousness only in the sexual dimension. It foregrounds pointedly female sexuality which remains embedded within the source text and highlights sexual seduction and its consequent victimization.Filmic Isabel, looking embarrassed after the confrontation with Goodwood, doesn’t seem to find “a very straight path” open to James’s Isabel.
The comparison shows the unique achievement of James’s The Portrait of a Lady is from his exploration of Isabel’s consciousness and her growing awareness as well as his effective use of light and dark image well suited to this theme.
James’s The Portrait of a Lady focuses on Isabel’s consciousness and explores her growing awareness. Isabel often has a dread of herself because of her inner contradiction between her conscious commitment to individualism and an unconscious yearning for safety and stability. Through mid-night meditation (in chapter 42) and the last confrontation with Goodwood (inchapter55), Isabel, with the enlargement of consciousness and sudden awakening, affronts the source of her dread, confronts and overcomes it. Thereby she becomes a tragic heroine.
This theme is overlooked in the two adaptations for their own appropriation. BBC drama simplifies the original text to a fairytale-like love story. It ends with Isabel’s wail who realizes Ralph’s true love at his death bed, omitting the next story crucial to her life. Campion’s film narrows Isabel’s consciousness into her consciousness only in the sexual dimension. It foregrounds pointedly female sexuality which remains embedded within the source text and highlights sexual seduction and its consequent victimization.Filmic Isabel, looking embarrassed after the confrontation with Goodwood, doesn’t seem to find “a very straight path” open to James’s Isabel.
The comparison shows the unique achievement of James’s The Portrait of a Lady is from his exploration of Isabel’s consciousness and her growing awareness as well as his effective use of light and dark image well suited to this theme.
목차
Ⅰ. 머리말
Ⅱ. 이사벨의 ‘의식’의 재현 문제
Ⅲ. 빛과 어둠 이미지 활용의 차이
Ⅳ. 맺음말
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UCI(KEPA) : I410-ECN-0101-2013-840-003393885