Earticle

초록

영어

Frankenstein showcases a male scientist’s fantasy of a self-rebirth and abjection against the maternal presence through narrative and scientific creation, which represents patriarchal culture of the early nineteenth century Britain. Victor’s narrative of demeaning description of women and his creation of life without female body are equal to the abjection process which Julia Kristeva explains in Powers of Horror. However, the novel makes a paradoxical turn for change and suggests the new ethics of love, as symbolized by the maternal body. As the mother’s body becomes a matrix space to create split subject and nurture the infant, the novel becomes the abject narrative: within this abjected body of a novelistic form, Mary Shelley embraces and incubates the socially subscribed subject. In the ending of the novel, the creature, the result of abjections, conducts Victor’s funeral-death and willingly embraces death, which becomes symbolic subversion and the manifestation of Kristeva’s ethics of love within the mother. Through writing the novel, Shelley creates a womb-like space to subvert the process of abjection and embrace the other within, thereby calling upon the new ethics of love encompassing abjection.

목차

I. Introduction
 II. Abjection, SeIf-Rebirth, and the Ethics of Love
 III. Victor's Fantasy of a SeIf-Rebirth
 IV. The Creature and the Maternal Body
 V. Narrative Mother
 Works Cited
 Abstract

키워드

줄리아 크리스테바 비체 비천화 자기재생에의 환상 여성윤리 사랑의 윤리 모체 『프랑켄슈타인』 메리 셸리 Julia Kristeva abject abjection fantasy of a self-rebirth herethics ethics of love maternal body Frankenstein Mary Shelley

저자

• Kim Hye Jin [ 김혜진 | Namseoul University ]

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