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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
- 2021.9
- 수록면
- 117 - 142 (26page)
- DOI
- 10.24152/NCLE.2021.9.25.2.117
이용수
초록· 키워드
오류제보하기
This article aims to examine Mona Caird’s The Wing of Azrael (1889), not merely as an extension of her argument of the essay “Marriage”(1888) on Westminster Review which ignited a firestorm of controversy on ‘modern’ marriage, but also as an experiment on various devices of the contemporary fiction-Bildungsroman, domestic novel with a marriage plot, and the murderess of the late-Victorian Sensation Fiction.
Viola Sedley finds herself trapped in oppressive relationships among her family and harassed by Sir Philip Dendraith and his son (whose name is also Philip). Her growth as a human being is seriously distorted and stunted, which characterizes Viola’s adolescence as ‘anti-Bildung’. Her family members force her to marry Philip to avert their financial ruin. Viola soon discovers that her married life is a “living-hell”, because of Philip’s gaslighting and stone-cold abuses including marital rapes, rarely portrayed in fiction during the Victorian era. While dreaming of escape with Harry Lancaster, she stabs Philip to death, to avoid the immediate rape. However, Caird does describe Viola neither as an adulteress-murderess of a Sensation Fiction, nor as a tragic heroine like Thomas Hardy’s Tess.
As an early ‘New Woman’ novelist, Caird not only covers various topics surrounding the debate over the Victorian marriage, but also appropriates several novelistic devices and conventions to dramatize the typically thwarted progress of a Victorian woman’s life.
Viola Sedley finds herself trapped in oppressive relationships among her family and harassed by Sir Philip Dendraith and his son (whose name is also Philip). Her growth as a human being is seriously distorted and stunted, which characterizes Viola’s adolescence as ‘anti-Bildung’. Her family members force her to marry Philip to avert their financial ruin. Viola soon discovers that her married life is a “living-hell”, because of Philip’s gaslighting and stone-cold abuses including marital rapes, rarely portrayed in fiction during the Victorian era. While dreaming of escape with Harry Lancaster, she stabs Philip to death, to avoid the immediate rape. However, Caird does describe Viola neither as an adulteress-murderess of a Sensation Fiction, nor as a tragic heroine like Thomas Hardy’s Tess.
As an early ‘New Woman’ novelist, Caird not only covers various topics surrounding the debate over the Victorian marriage, but also appropriates several novelistic devices and conventions to dramatize the typically thwarted progress of a Victorian woman’s life.
목차
1. 서론
2. 바이올라 세들리의 수업시대
3. 결혼의 의무와 폭력
4. 여성 살인범의 운명
5. 결론
인용문헌
Abstract
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