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잭 케루악(Jack Kerouac)소설의 유기적 구조 : 『길에서』(On the Road)를 중심으로
조길래 신한영미어문학회 1994 새한영어영문학 Vol.31 No.-
Jack Kerouac's most popular and celebrated novel, On the Road, was one of the stages of a work in progress that he thought to have achieved its final form in Visions of Cody, which was never published in its entirety during his lifetime. One of the features that remarkably differentiates On the Road from his other novels is its structure. That's why this study makes a stress on the organic structure of this novel. This work is made up of four parts, and each part contains a story-within-a-story that reinforces the predominant impression left by the work as a whole, as summed up in the brief conclusive part. The work is a traditional tale of youth's disillusionment, and its episodic parts entail the disillusionment and develop into the whole. Each of the four major parts of the novel describes one of Sal's road trips, reflecting Kerouac's own major ventures between 1946 and 1950. Each of these parts follows a conspicuously similar pattern leading to identical conclusions. Therefore On the Road can be regarded as a self-sufficient entity constituted by its parts in their internal relations.
조길래 동아대학교 인문과학대학 영어영문학과 1994 동아영어영문학 Vol.10 No.-
The purpose of this paper is to study how the theme of death is shown in Jack Kerouac's novels. There is a general agreement among critics that all of his works are autobiographical. He intends to portray, through his works, the intellectual discontent towards post-World War Ⅱ American society and the spiritual crisis of Western people in the 20th century. In Doctor Sax and Tristessa, in particular-, he presents death as he perceived it in close connection with his autobiographical facts. The two works are an expression of endeavor dedicated to transcending death through nirvana-like ecstasy and eventual liberation of life. To the author death was something incomprehensible that loomed large in the course of his entire life and became a haunting question he strived to answer through his literary creations. In the end, he saw death itself as a process of re-creation. His insight into death takes on a realistic form. By juxtaposing the world of death as observed through the eyes of narrator Dulouz in Doctor Sax, with the world of reality, a world often interspersed with dreamy illusions and reflections upon the part, Kerouac gets closer to a realistic perception of life rather than turning to an ambiguous quest for salvation through religion. Death as the narrator witnesses it is something dark, gloomy, and negative that accompanies pain, but he faithfully expounds the idea that it, too, is an undeniable and inescapable aspect of life, and that its inevitability, therfore, ought to be embraced and then, hopefully, overcome in a positive and creative way. As in Doctor Sax, a similar theme runs through Tristessa. Even though Kerouac makes a cognitive error of having drug- induced raptures accepted as the happiest moment of life, he offers a positive recognition of the unavoidable truth that all living creatures share.