『사랑의 헛수고』: 궁정 풍 사랑의 유행과 남성 주체의 자기 소외
Love"s Labour"s Lost: Fashion of Courtly Love and Self-alienation of Male Subject
Love"s Labour"s Lost is the only comedy of Shakespeare which adopts "love" as its title. But it does not follow the convention of romantic comedy which sets the ideological closure of final marriage for romantic love. It is because Shakespeare"s concern with love in this comedy is the self-alienation of male courtly lovers and their fictions of masculine selfhood. Associating courtly lovers" labor with errors rather than with the remedies, the play represents, love, especially courtly love, as the symptoms of Imaginary Order. As is the play doubtful about the efficacy of romantic love, so the new form of marriage-the defer and the delay of it-alters the dramatic form. In addition, final songs which remind us that marriage is a beginning as well as an end, strengthen a critical view against courtly love as a fashion.
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