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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
- 2012.8
- 수록면
- 115 - 140 (26page)
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This paper examines representation of femininity and patriarchal violence in Elizabeth Gaskell’s gothic tales focusing on “The Poor Clare” and “The Grey Woman.” In these gothic tales, Gaskell dramatizes the interrelations of patriarchal violence towards the problematic femininity and womanly strength which can constitute sisterhood. Lucy’s femininity in “The Poor Clare” is represented as fragmented one in which woman is figured as either demon or angel. The representation of Lucy shows the fear which pervaded middle-class culture that the demonic woman would be the threat to the maintenance of a healthy home. Futhermore, the femininity of two women is refigured in “The Grey Woman” and Gaskell leads the reader to explore the process of gender transformation in the text. These tales offer challenges both to the conventions of nineteenth century fiction and to the ideology of ideal home and femininity in the Victorian period.
The supernatural element and textual uncertainties of Gaskell’s gothic tales are used as both a critique of and alternative discourse to the dominant narrative of her time. Inparticular, her narrative strategy is an appealing and dramatic means of looking more closely at the nature of patriarchal violence and it sphysical and psychological effect on women. Her use of supernatural mode and various narrative strategy is linked to her desire to reveal the underside of the middle-class value system of home, family, and femininity. Her gothic tales explore the cultural conflict which was originated from the contradictory discourses on femininity and leads to reevaluate the source of the danger in the Victorian domestic and sociocultural space. In particular, her stories continually take the Victorian readers to the roots of violence and suffering, and suggest that there is no simple resolution of them.
The supernatural element and textual uncertainties of Gaskell’s gothic tales are used as both a critique of and alternative discourse to the dominant narrative of her time. Inparticular, her narrative strategy is an appealing and dramatic means of looking more closely at the nature of patriarchal violence and it sphysical and psychological effect on women. Her use of supernatural mode and various narrative strategy is linked to her desire to reveal the underside of the middle-class value system of home, family, and femininity. Her gothic tales explore the cultural conflict which was originated from the contradictory discourses on femininity and leads to reevaluate the source of the danger in the Victorian domestic and sociocultural space. In particular, her stories continually take the Victorian readers to the roots of violence and suffering, and suggest that there is no simple resolution of them.
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UCI(KEPA) : I410-ECN-0101-2013-840-003393921