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논문 기본 정보

자료유형
학술저널
저자정보
Jeongsuk Kim (Chosun University)
저널정보
19세기영어권문학회 19세기 영어권 문학 19세기 영어권 문학 제24권 제2호
발행연도
2020.9
수록면
101 - 120 (20page)
DOI
10.24152/NCLE.2020.9.24.2.101

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초록· 키워드

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This essay examines Cameron’s photographic interpretation of Tennyson’s Enid described in “The Marriage of Geraint” and “Geraint and Enid” as the most faithful and compliant wife among other female figures in Idylls of the King. By paying special attention to Cameron’s idiosyncratic photographic representation of eyes and hairstyles, this essay investigates how Cameron directed Tennyson’s Enid in her two images, Enid and And Enid Sang, to show Enid’s own self by shattering her conventional public self. First, along with comparing Gustavo Doré’s image, this essay explores Cameron’s Enid to decipher how Cameron offered her photographic space for Enid to express her internal conflict by intentionally hiding her eyes. Subsequently, this essay focuses on Cameron’s second photographic image, And Enid Sang, to analyze how Cameron reinvented Enid as not the subordinate and dependent Victorian woman in patriarchal society, but as an independent young woman with musical talent by exploiting the evocative power of women’s hair. Although Cameron’s unconventional photographic illustration manner was generally undervalued due to her lack of knowledge of technical and theoretical photograph skills, this essay argues that it was Cameron’s intentional aesthetic strategy to not only influence the conventions of femininity, but also to revolutionize the dull formulaic studio photographic style.

목차

Ⅰ. Introduction
Ⅱ. Revealing True Enid in Cameron’s Photo Room
Ⅲ. Conclusion
Works Cited
Abstract

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