摘要
I examine in this paper how Roxana explores the uncanny othemess of modem subjectivity, particularly through the figure of the double as a quintessential literary corollary of a narcissistic self whose problematic relation with oneself as well as the other is often represented in the form of the double. As an exquisite literary device that incarnates the repressed anxiety or fear of the self, which is often employed in Gothic or Romantic writings, the uncanny double works as a peculiar topos to belie and undermine the idea of modem subjectivity as an autonomous individual. Roxana deploys it with dexterity and power as a significant way to explore modem subjectivity. Amy largely plays the primitive double, while she also exhibits how the connotation of the double is historically altered. Susan as the uncanny double narcissism embodies Roxana＇s desire for a non-split self as well as self-fear, and her killing unavoidably leads to the suicidal destruction of Roxana herself.
