도착적 주체의 주이상스 서사, 드라마 <레이디 두아>

초록

This article aims to interpret the drama Lady Doir from the perspective of psychoanalysis. Set against the backdrop of the luxury industry, Lady Doir shows how the fantasy surrounding that world organizes desire and becomes reality. Here, desire appears as a structure that is ceaselessly reproduced around the gaze of the Other, social recognition, and an empty center. Sara Kim’s jouissance does not lie in preserving a single identity. She continually changes her name and position—from Mok Ga-hee to Doir, Kim Eun-jae, Sara Kim, and Kim Mi-jung—discarding prior identities and generating a new form of jouissance at each moment of transition. This structure becomes radicalized through symbolic death and an encounter with the Real. Mok Ga-hee’s act of throwing herself into the water signifies the collapse of a social position, while Kim Eun-jae’s being stabbed in place of Hong Seong-shin, and even giving him her kidney, marks a rupture in bodily identity. After passing through these moments, her desire can no longer be reduced to goals such as success or recognition. Sara Kim has herself registered as dead, remains under the borrowed name “Kim Mi-jung,” and at the same time records herself as the murderer of her former self, thereby disrupting the very bond between name and substance. In this way, she becomes a figure who turns the fiction of the symbolic order against itself. This shows that Sara Kim’s jouissance is closely tied to feminine jouissance and to a perverse structure. She places herself in the position of the objet petit a, the object that keeps the Other’s desire in motion. What remains in the end is not Sara Kim or Kim Mi-jung as a substantial human being, but a mythic signifier repeatedly invoked within the desire of the Other, condensed in the figure of “Lady Doir.” Lady Doir can thus be read as a symptomatic drama that reveals how the contemporary subject is caught in a circuit of desire in which one seeks to refashion oneself into an image, a brand, and a narrative in order to become the Other’s objet petit a.

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