안젤라 카터의『피로 물든 방』에서의 경계를 가로지르는 늑대의 의미

Abstract

This thesis is to examine Angela Carter's rewriting and deconstruction of old fairy tales and mythologies through The Bloody Chamber and Other Stories, which has discontinuous and contradictory narratives deconstructing traditional patriarchal ideology. By defamiliarizing and twisting existing stories, Carter successfully demythologizes existing patriarchal ideology as a universal value. Focusing on the "Wolf Trilogy," the thesis investigates such techniques as repetition, metamorphosis, and violation to deconstruct traditional narratives and stereotyped figures of fairy tales and myths. The techniques collapse the boundaries between the center and the margin, between good and evil, between human and animal, between reality and fiction, which have shaped patriarchal social and cognitive systems and consequently excluded the marginal. It is the aim of Carter's writing to shake the basis, origin, and center, and reveal hidden and excluded beings. Carter suggests that the traditional image of the wolf, which has been typified as being cruel and greedy, is false and fictional, arguing such negative images of woolf has been imposed by patriarchal ideology. She creates a new and provocative image of wolf as a monster to ceaselessly metamorphose crossing the boundaries of species and gender. Carter's wolf refuses to be fixed and identified in hope to be a being of infinite meanings. The wolf does not merely stay in Carter's text, but it moves to the reader. Carter assumes that the reader is a potential writer who participates in deconstructing such old ideology and creating new meanings. Above all Carter shows the possibility of intertexuality among writer, reader and wolf. Now, forming new meanings is always open to everyone and everything.