다시 읽는 “존재의 순간들”: ｢순간: 여름 밤｣과 『댈러웨이 부인』을 중심으로
| 저자 | 김금주 | 출처 | 제임스 조이스 저널 | 페이지 | |
| 발행년도 | 2003년도 | 총 | 9권 2호 | 참조 | 제임스 조이스 저널 |
| 논문다운로드 | 2003_9_2_kgj.hwp | ||||
During the 19th century various public adventure stories contributed to celebrating the male-centered British imperialism. Woolf undermines the masculine imperial romance that presents men’s expeditions and adventures.
She shows that a ‘voyage out’ for women cannot be an opportunity for their self-accomplishment for the voyage controlled by the male-centered Symbolic Order cannot but limit women’s desire.
In The Voyage Out, Woolf represents that the male-centered social, ideological fantasy controls Rachel’s desire, and has her learn how to desire. A voyage into the world and the relationship with people whom she gets acquainted with on the voyage may help to educate young and inexperienced Rachel, and her spiritual growth. The Englishmen who Rachel meets on her journey are intelligent and educated, but the value they pursue turns out masculine and imperial one that subjugates and dominates the sexual as well as the racial other.
Therefore, the Englishmen’s influence on Rachel does not help her facilitate her self-realization. Little by little, Rachel confronts the masculine ideological fantasy, and resists to conform it. She wants to be free like the wind, or the sea. In the male-centered society, a marriage would be oppressive for Rachel, and silence her desire. Woolf represents symbolically the reality of women’s condition in her days that forecloses the future for women who voyage out.
