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John Fowles의 문학과 전후 영국소설의 실험성 : 조이스의 영향을 중심으로 Joyce's Influence on the New Concept of Authorship
홍덕선 한국제임스조이스학회 2003 제임스조이스저널 Vol.9 No.2
"The Death of the Author" is one of the most controversial issues in the literary world in the later half of the 20th century. The author is traditionally considered as a creator of a work. In that sense, the author is the actual agent of meaning, and he is responsible for the production of the sequence of events as a whole. In general, he represents the governing consciousness of the work as a whole, and he is the source of power, intelligence, and even moral standards. In the 1060s, however, a new concept of the author was suggested that he is the effect of the language on the reader rather than a subject's consciousness or persona. Joyce's fiction has once supported a modernist myth: the myth of the narrator's impersonality, which is however, only an illusion. For example, in his polystylism and parodic narrating manner of Ulysses, the narrator's structural presence cannot be accepted as the rationale for the book's arrangement. John Fowles also continually experimented a new concept of authorshipa as existence and writing in the sequence of his novels. He presents in his works the passivity of the authorial process, its reliance upon combinations of a cultural repertoire of conventions. All of these explanations are depended upon Barthes, Foucault, and Joyce, all of whom argued the conversion of the author from an absolute entity to a textual strategy.
홍덕선 한국현대영미소설학회 1998 현대영미소설 Vol.5 No.1
Since the 1960s one of the major characteristics in contemporary fiction is the breakdown of the traditional genre form. As the division between high and low culture have become blurred after World War Ⅱ, popular romance has invaded literary postmodernism. In the contemporary novels, the conventions of realism and romance are made to collide openly and self-consciously. Why and how can romance serve as a viable tool for postmodern cultural analysis? Romance has been liable to derogation as a mode of lowbrow entertainment, of sentimental and fantastic escape. In spite of the privileging of realism over romance in the tradition of the novel, romance has flourished in imbibing a wide range of divergent materials which simply do not seem to fit one generic category very comfortably. It is not resticted to medieval tales of brave and handsome knights or to novels opening on dark and stormy nights. It seeks what Hawthorne termed "the truth of the human heart," often sthrough a conscious simplification and allegorizing of character. Its mystic tableaux try to reimport the marvellous and improbable back into human life: it remakes the world in the image of desire and imagines ideal and idiosyncratic worlds. In The French Lieutenant's Woman John Fowles exploited the ancient erotic sources of romance and its narrative potentialities for the mystical and existential truths. His novel is constucted on the basis of the traditional quest form: a new quest for personal authenticity in which the self of the protagonist is to be tested, tried, and subjected to ordeal. However, unlike the conventional form, the search for an absolute existential wholeness can never be fully achieved by either text or hero. Three possible endings announce the deadlock of realistic closure; the liberation of the protagonist at the end implies an absolute isolation of the existential individual but a possibility of his new start for the future. David Lodge's Small World also uses some principal ingredients of romance story: the secret and extramarital love affair, the atmosphere of enchantment, the dangerous and mysterious quest of the hero, the punishment of the lover, the figure of the elusive or unattainable female, exotic and mysterious settings, and so on. All these conventions of romance give to the text the vitality of liberation from the repressed frame of traditional realism.