히치콕의 카메라로 엘리엇과 프로스트 응시하기

Abstract

This paper attempts to read T. S. Eliots and Robert Frosts poems with the help of some recent arguments on gaze, and examine several aspects of literary modernism focusing on the hierarchial dominance of masculine eye. Some cinematic concepts such as voyeurism or the pornographic eye are discussed and used to read two major modernist poets from this new perspective. Above all, Exemplary scenes for this study are offered from Alfred Hitchcocks movies, where recent theories on the relation between subjectification and gaze, including Lacans and Zizeks, tend to find their visual images. Eliots Prufrock represents the male protagonist who is in an endless agony and search to maintain his illusion of male sovereignity over female. As Gerald Finn says of pornography as the pure expression of the hierarchical difference between masculine and feminine, The representative figures in Eliots poem such as Prufrock or the male speaker of Portrait of a Lady appears as The one who knows and present women just as the objectification of his idea, seeing women come and go. And Tiresias, the prophet in the Waste Land, who foretold the rest and observe a pornographic scene, can be said to objectify this hierarchial dominance of masculine eye in its purest form. Frosts poems, which deal with a variety of gazing scenes, present peculiar moments male subjects eye fails, and objects or things gaze opens a new space of knowing. For example, the poet describes the epistemological breakdown as a positive and sublime moment we are lifted above merely determinate and fictional considerations into the realm of the indeterminate nature in Once, Then, Something. That is, where male eyes hierarchy, which Eliots mythic method or Pounds sudden liberation presuppose, collapses, new form of subjectivity emerges from experiencing the gaze from Thing itself.