[단행본] 제임스 조이스의 스타일 연구: 바흐찐의 미학이론을 중심으로

다국어 초록 (Multilingual Abstract)

Recent Joycean studies focus on the aesthetic effects of textual strategies and narrative styles, as Ulysses shows stylistic idiosyncrasy that demands a new perspective on the multiplicity of meanings, aesthetic effects of styles, and the traditional concept of the novel and language.
Joyce disapproves the dogmatic view that reduces all aspects of life and the world to a single systematic value. Through various narrative styles in Ulysses, Joyce tries to show that human experiences cannot be represented by a single narrative style, and they are inexhaustible sources for meanings in life.
Humanism is the main theme in Joyce's art and it is represented not so much in the sentimental authorial tone and plot that distinguish human aspects of the hero, but in his styles that permit the multiplicity and heterogeneity in life, various impressions of life to float freely in objective authorial views and tones, and show open and multiple aspects of life that cannot be fixed on a single view. Since life is dynamic, man is a being with endless possibilities that cannot be limited by a single view. Therefore, Joyce's complicated technique and styles reflect his concern on human affairs, and belief that man is the source of life's infinite meanings, the aim of art is to sublimate the positive images of a human being, which is Joyce's main concern in art.
Mikhail Bakhtin, a Russian literary theorist, has the same view on man and the world. Man also has endless possibilities for the future and they cannot be limited by a single viewpoint. Bakhtin claims that the world is an open square where each individuals meet and exchange their particular views. His so-called "dialogism" is rooted in his view of language being the result and expression of human mutuality and incompleteness, and not anything related to an isolated and dogmatic expression of subjective consciousness.
Man cannot achieve a complete and objective image of himself because of his limited angle of viex in a particular time-space. This is the reason man is in need of supplementary view from the other. According to the Bakhtinian "surplus of seeing", the necessity of the other viewpoints proves that man is not self-sufficient. Therefore he is in need of dialogue with the other about his viewpoints, consciousness and language.
Self-sufficiency and pure subjective consciousness of Descartesian subjectivism and its "monologic" view often simplify man as an abstract, systematized being and excludes inconclusiveness of human life, importance of the other and the variety of the world. Bakhtin's "dialogism" and "market-place" language in his Rablais study criticizes this inhuman, authoritative aspect of "monologism" and this is what Joyce's styles and Bakhtin's theory share in common. Even if Ulysses is widely accepted as a typical example of high modernism, Joyce satirizes some intellectual, mechanic and abstract tendencies about modernism, and praises the lavishness of physical and secular life and the world. What appears to be technical experiments in styles is really an efficient tool for criticizing the anti-human in modernism.
"Epiphanies" and the style of "scrupulous meanness" in A Portrait of the Artist as a Young Man and Dubliners are a help to understanding Joyce's secular humanism. "Epiphanies" or "sudden spiritual manifestation" in "triviality" evidences that Joycean humanism is based on the importance of specific "event" in concrete time-place of everyday life and the awareness of its epistemological value. And, the style of "scrupulous meanness" is the means of representation of that epiphanic reality as scrupulously and exactly as possible.
In Joyce's dialogic world, the role and meaning of the other gives an ironic tone to free indirect sppeech. Stephen's growing awareness of himself as an artist and his command of language are achieved through dialogic relation with the other's language. But, his romantic images of artist and language, whose essence is self-sufficiency and purity blur the dialogic nature of language and the world. The moral paralysis of the characters in Dubliners lies in their inability to see themselves objectively or their inability to see themselves from the other's view. This aspect of the novel is ironically dramatized through free indirect speech which mixes subjective and objective views.
Various styles and "heteroglossia" in Ulysses are also witnesses to Joycean "dialogism". There is no whole-embracing authorial view, all styles, views and languages seem valid, but only to create an incomplete image of man and the world. These unstable narrative styles deconstruct the single, systematic image proposed by "monologism" and its abstract, authoritative view.
Joyce's style of secular humanism is represented similarly in the Rablaisian carnival images. These are subversive strategies against "monologism" that deny dialogic multiplicity of man and the world. Carnival images in Ulysses, therefore, play a double-role. They criticize the "monologic" and its dogmatism, and gives praise to the given human condition and secular values. The world of "joyful ambivalence" of carnival images not only makes Ulysses a great human comedy, but also affirms secular humanism as Joyce's enduring artisitic concern.

국문 초록 (Abstract)

본 논문의 목적은 구체적 현세성, 전체주의에 대한 거부, 인간과 세계의 가변성에 대한 긍정 등을 특징으로 하는 조이스와 바흐찐의 휴머니즘을 중심으로, 그들의 스타일과 미학이론의 연관성을 밝히는 데 있다. 이러한 작업은 조이스 스타일의 특이성의 기원과 본질, 그리고 단순히 “대화주의”, “다양성” 등으로 주로 알려져 있는 바흐찐 미학에 대하여 폭넓은 시각을 제공해 준다.

국문 초록 (Abstract)

학위논문(박사):-- 한국외국어대학교대학원: 영어과 2002

국문 초록 (Abstract)

제1장 서론
제2장 에피퍼니의 서술 스타일과 세속성의 미학
제3장 「젊은 예술가의 초상」:타인의 언어
제4장 「더블린 사람들」: 타인의 의미
제5장 「율리시즈」:대화의 세계
제6장 「율리시즈」:육체의 언어와 희극성
제7장 결론
BIBLIOGRAPHIY
ABSTRACT