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코맥 맥카시의 『로드』를 중심으로 살펴본 현대사회의 위기와 구원을 위한 내러티브의 가치
이선주 ( Son Ju Yi ) 서울대학교 미국학연구소 2011 미국학 Vol.34 No.1
This article is to look at literature or narratives as a useful tool for recognizing the hidden crises of modern society by taking The Road as an example. Unlike Max Weber or Anthony Giddens who asserted that modern society`s complexity itself would ensure the stability of the social system, Ulrich Beck once paradoxically predicted that the more complicated a society becomes, the more dangers it inevitably contains due to the increasing unpredictability in it. It is often said ``unpredictability`` and ``universality`` are the two most marked features of modern crises. Risk never sleeps in every modern society and the possibility that we`ll pay for everything can`t be extirpated after all. Here the merit of narratives as a powerful environmental metaphor for deterring the grim catastrophe gets highlighted. The role of ``narratives`` as an ethic parable can not be neglected at all. To convert someone`s stories into the stories of myself, the ``internalization`` through emotional synchronism ought to be an imperative. Cormac McCarthy`s The Road is characterized by ample allusions from various sources and concise literary style harboring its beauty at the same time. It can deeply engrave both the environmental message and family bond upon the reader by picturing a father and a son struggling to survive after the Apocalypse. The extremely minimal style can be seen as a representation of the devastated world as the setting of this novel in some way and the ``desert`` can become a foundation for the discovery of a new world as well as a deserta (absence) where all the material, spiritual, ethical values are dried up. Futhermore, the meaning of the ``place`` in this novel is seriously impaired. The self-destructive consumerism symbolized by ``shopping cart`` is distorted into horrible cannibalism in an extremity. The most fundamental truth dying father in this story strives to tell his son who carries the fire must be the possibility the continuance of life may bring someday and the courage to live. Like Scheherazade in The Arabian Nights`, the story of a father and a son who ascertain each other`s existence by exchanging continual talks now gains much acceptance as more powerful environmental book ever written than any scientific and rational persuasion.
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이선주 ( Son Ju Yi ) 서울대학교 미국학연구소 2013 미국학 Vol.36 No.1
This paper is to investigate how the dynamics of Eros (sexual instinct, the instinct of self-preservation) and Thanatos (death instinct) work with each other in Chopin``s The Awakening. In truth, Eros is not incompatible with Thanatos. Instead the highest self-love inevitably goes with the self-destruction (physical death) as we can see in Tristan and Isolde. At the end of the 19th century, American society witnessed a very intense conflict between the traditional Victorian moral values and the new awakening for women that mainly stemmed from both the philosophy of enlightenment and American transcendentalism. As for Edna, the heroine of The Awakening, everything which surrounds her, especially the 19th century Creole society in Louisiana rigorously prohibits her from realizing her real identity, her so-called essentials. Therole assigned for her by society is nothing but that of a wife or a mother. At first, Edna repeatedly tries to overcome these social barriers through the salvation of the ``surrogate mothers`` (Adele Ratignolle, Mlle. Reisz) or the ``perfect lover`` (Robert Lebrun) which is destined to fail. Gradually the ``home``, the counterpart of Foucault``s ``prison``, is suffocating her to the extent that she cannot sustain herself as an integrated individual any more. Motherhood is one of the most unwilling duties imposed on her by society. She neither wants to be a woman-angel nor a woman-monster. Like the great thunderstorm that hit all of Louisiana in 1893, the Thanatos in Edna finally induces her to take her own life. Her suicide should be regarded as not a defeat to her fate but a victory to achieve her true self which is the only worthwhile object of her highest Eros.
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