http://chineseinput.net/에서 pinyin(병음)방식으로 중국어를 변환할 수 있습니다.
변환된 중국어를 복사하여 사용하시면 됩니다.
Writing for a Community of Suffering in E. L. Doctorow`s The Book of Daniel
( Seen Hwa Jeon ) 영미문학연구회 2015 영미문학연구 Vol.28 No.-
The Book of Daniel, E. L. Doctorow``s novel based on the actual Rosenberg case, interweaves history and fiction in a self-conscious attempt to revisit the controversial past. The novel is literally the book of Daniel-the novel``s narrator and protagonist Daniel writing his own story/history, revisiting his traumatic past to figure QUI what was and is the truth in the case of his parents. Through the novel``s layered narrative, Doctorow puts forth the issue of historical truth as involving the question of perception painted by cultural assumptions. This paper examines the novel``s narrative issues in terms of Daniel``s struggle to resist the official narrative of history and to reclaim the legacy of the lsaacsons while trying to write for a community of suffering. For Daniel, writing is a process of learning to hold out against a life whose paths are already classified and deternined no matter what actions he makes. While resisting such a deterninistic view of history. he is also critical of what Disneyland represents -the flattened reality of modem consumer society. A "criminal of perception," who sees not just the visible he is supposed or allowed to see but the invisible through ruptures, Daniel recounts his personal and familial stories as part of the history of alienated social classes. In this light, we can say that, although the truth of the lsaacsons``s case remains undecidable as such, Daniel achieves his aim in the process of his quest., the book of Daniel. The words of Daniel are closed up and sealed, but the book, open to the reader of the present and future. will continue to be unsealed. Writing for a Community of Suffering
Speaking through the Mask: Melville`s “The Piazza” and “Bartleby”
( Seen Hwa Jeon ) 미국소설학회(구 한국호손학회) 2014 미국소설 Vol.21 No.1
In this paper I examine “The Piazza” and “Bartleby,” focusing on Melville`s concern with writing as a quest for truth and reality; how his quest deepened at the period when he was writing his magazine tales and how his reflections on writing resulted in the ambivalent and ambiguous endings in the magazine tales. In rendering isolated and alienated people and social barriers in commercialized society, Melville is interested in revealing the shortcomings of the narrators telling of their confrontations with these characters. The reader is made to feel uncomfortable and perplexed during and after reading, for he shares the narrators` values and assumptions. In the two tales, Melville addresses the problem of writing itself as it involves a limited perception of every-day life, the relationship between illusion and reality, and the issue of truth-telling. This hints at the artist`s doom in which he has to tell the truth only through the mask. The ending of “The Piazza” points to Melville`s effort to endure a creative tension, neither obsessed with nor despairing of the bitter truth of reality nor totally ignoring the blackness of truth coming in with darkness. The deep pathos felt in the ending of “Bartleby” shows the author`s own recognition, lurked in the tale, that his fiction may not reach its destination like dead letters. It seems that the deeper Melville seeks to dive into the dark matrix of truth, the more does he become conscious of the limits of fiction and language and, paradoxically, the more masks he wears in telling truth.
“Memory`s Truth” and the Question of Temporality in Salman Rushdie`s Midnight`s Children
( Seen Hwa Jeon ) 한국현대영미소설학회 2014 현대영미소설 Vol.21 No.2
The act of remembering by which one tries to retrieve one`s own past is an important motif in recent novels. This paper examines the ways Rushdie`s Midnight`s Children presents “memory`s truth” through Saleem Sinai`s discontinuous and disjunctive narrative to address the question of temporality in postmodern narratives of memory. Saleem, the narrator and protagonist, compares his writing to the process of pickling his past, “the chutnification of history”: struggling against his imminent end, whether literal or symbolic, he is giving immortality to his memories by pickling his thirty years` lives in thirty jars. In the novel, the act of retrospection creates a tension between young-Saleem-then and the narrator-Saleem-now, which runs through Saleem`s narrative of memory in the form of possibilities and restrictions of possibility in the past. With his simultaneous sense of fatedness and contingencies, Saleem invites us to rethink the nature of human fate we inherit from our past as including the unfulfilled possibilities of the past as well as the realized potentialities. I argue that the disjunctive structure of storytelling can be seen as a way of breaking the closed structure and the movement of regression in the narrative. The genealogy of storytellers presented in the novel is then oriented toward a future to which the listener or reader of the story belongs as a next generation, whether he/she is a character in the story or the common reader of the novel.