『아들과 연인』의 반성장 서사 연구
A Study on Anti-Bildung Narrative of D. H. Lawrence’s Sons and Lovers
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This essay intends to re-read D. H. Lawrence’s 1913 novel Sons and Lovers as an anti-Bildung narrative of an abject. The abject, according to Julia Kristeva, lies (or abandoned) in a place where the distinction between subject and object, or self and other, is lost, and arises to be purified by embracing the attraction and repulsion toward the unnamed desire and passion embedded in the course of abjection. In fact, this novel has been generally known as one of the greatest Bildungsroman written by a young genius that explores the problematic psychological dynamic between mother (the other) and son (self). However, what I claim as anti-Bildung aspects of the novel do not so much oppose the general meaning of growth and development as violently, painfully, and artistically transcend it. In particular, the final version of the author’s manuscript (eventually published in 1992) reveals such anti-Bildung features in both content and form. In this paper, I would argue that this autobiographical Bildungsroman is a modern tragedy of the abject whose Bildung undergoes deconstruction by embracing the death of the old ego and giving up the lineal distinction of self vs. other, and finally realizes the meaning of being truly alive in life and art.
Abstract
This essay intends to re-read D. H. Lawrence’s 1913 novel Sons and Lovers as an anti-Bildung narrative of an abject. The abject, according to Julia Kristeva, lies (or abandoned) in a place where the distinction between subject and object, or self and other, is lost, and arises to be purified by embracing the attraction and repulsion toward the unnamed desire and passion embedded in the course of abjection. In fact, this novel has been generally known as one of the greatest Bildungsroman written by a young genius that explores the problematic psychological dynamic between mother (the other) and son (self). However, what I claim as anti-Bildung aspects of the novel do not so much oppose the general meaning of growth and development as violently, painfully, and artistically transcend it. In particular, the final version of the author’s manuscript (eventually published in 1992) reveals such anti-Bildung features in both content and form. In this paper, I would argue that this autobiographical Bildungsroman is a modern tragedy of the abject whose Bildung undergoes deconstruction by embracing the death of the old ego and giving up the lineal distinction of self vs. other, and finally realizes the meaning of being truly alive in life and art.
참고문헌 (33)
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