She took the agreement and pen. While engaging in my internal struggle, I looked upward for a moment. It occurred to me that the painting on the ceiling, like many of those of the Italian and Dutch schools, was utterly unhistorical, but this very fact gave it a strange mood which had an almost uncanny effect on me. Delilah, an opulent woman with flaming red hair, lay extended, half-disrobed, in a dark fur-cloak, upon a red ottoman, and bent smiling over Samson who had been overthrown and bound by the Philistines. Her smile in its mocking coquetry was full of a diabolical cruelty; her eyes, half- closed, met Samson's, and his with a last look of insane passion cling to hers, for already one of his enemies is kneeling on his breast with the red-hot iron to blind him.(국역본에는 언캐니하다는 말이 아예 빠져있음)
여기서 마조흐는 직접적으로 언캐니한 효과라는 단어를 사용한다. 벤자민 제이콥은 삼손과 데릴라의 삽화를 모래인간의 알레고리로 본다. 프로이트는 모래인간의 실명 공포를 거세 공포와 연결시키며 그것이 곧 언캐니한 감정과 관련이 있다고 했다.
<모피를 입은 비너스>에서 세버린은 실명의 형태를 여럿 경험한다. 어딘가에서 완다는 세버린의 "insane blindness"에 관해 말한다. 이때 마조흐는 wahnsinniger Verblendung으로 표기하는데, 제이콥에 따르면, blendung은 밝은 무엇에 의해 어지러워지는 것으로서의 "blinding"이며, 이는 팔레스타인인의 붉고 뜨거운 poker의 함의를 가진다고 한다. 또한, 독일어에서 blendung은 처벌(punishment)의 형태에서 출현하는 "blinding"과 관계가 있다고 한다. 이는 삼손 그림의 내용과 일치하며 이는 언캐니 담론으로 다시 흐른다.(275)
<모피를 입은 비너스>에서 나오는 거울, 초상화, 사진 또한 프로이트의 언캐니와 상응하는 모티프다. "분신The Double" Reflections are not an accurate form of perception: distorted, in- verted, they are further examples of the violated gaze motif shared by Freud’s uncanny and the Samson and Delilah picture. Sight in Venus is not clear-sighted. What is seen cannot be trusted and the veracity of the gaze, like Samson’s eye, is perpetually attacked. This theme is particularly well represented in the novel’s theme of theatricality which incorporates various uncanny effects, including more ways in which the gaze is tricked, violated, and distorted. 276
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Critics often refer to the theatrical aspect of masochism. Anne Mc- Clintock describes it as “a theatre of transformation” (143); Gaylyn Studlar mentions the masochist’s “theatrical ritualization of fantasy” (70); Anita Phillips comments on the necessity of costume for the masochistic scenario (100–01). Paralleling these critics’ comments on masochism, theatricality also features prominently within Venus and the desire it depicts.
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In terms of the uncanny, theatricality presents a form of deceit. Can what is seen be trusted or is it just a costume, an act, a façade? In this way, the novel’s theatrical content presents various transformations of identity. Severin moves from “being” an Austrian aristocrat to a Polish servant and his name changes from Severin to Gregor. With the aid of a whip and furs, Wanda shifts from a demure widow to a dominatrix: then, later, when she relinquishes these symbols of power, she becomes a courtesan. Alexis allegedly enjoys transforming his appearance from that of a man to that of a woman. Throughout the novel, therefore, do these examples of transformation present a possibility of seeing in the story’s theatricality another uncanny motif: what Freud termed the division of personalities (“a doubling, dividing and interchanging of the self”)?
연극성. 자아가 분화하는 무대. 코스츔과 소품 플레이가 세버린의 욕망의 충족에 굉장히 중요함
As in Freud’s theory of the uncanny, the female and the female body throughout Venus are integral to the book’s “uncanny aura.” Indeed, Venus repeatedly links two fundamental uncanny motifs—the feminine and violence. References to cruel women abound, including Brunhilde, Judith, Delilah, and Circe. In addition, most of the book’s female characters (Wanda, Aunt Sobol, Wanda’s African slaves) exhibit violent tendencies. On one occasion, when Wanda whips him, Severin recounts the reaction that her appearance and actions evoke: As she whipped me, Wanda’s face took on more and more of that cruel, scornful character that so dreadfully delights me” (93). In German “dreadfully delights” is actually “der mich so unheimlich entzückt” (116). (278)
비너스는 죽음과 해체를 떠오르게 함.
Freud observed that men (especially male neurotics) are disposed to regard the female genitals as a source of uncanny fear: 딕 히긴스를 위한 무서운 음악 <암컷 고래의 질 속으로 기어 들어가라>
Freud observed that men (especially male neurotics) are disposed to regard the female genitals as a source of uncanny fear: 딕 히긴스를 위한 무서운 음악 <암컷 고래의 질 속으로 기어 들어가라>
