정치, 디센서스, 주체화 - 로우리의 『기억 전달자』와 랑시에르의 ‘다름’의 미학을 위한 감각적 나눔
Politics, Dissensus, Subjectivation: Lowry’s The Giver and Rancière’s Different Partition of the Sensible
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This paper examines Lois Lowry’s novel The Giver in relation to Jacques Rancière’s political theory and philosophy, particularly in terms of his key concepts, such as “the partition of the sensible,” “dissensus,” and “subjectivation.” This inquiry aims to foreground the important function of politics in revealing the arbitrariness of social distribution of power and bringing about reconfiguration of dominant ways of perceiving and dividing the world. Dissensual subjectivation, brought about by political “disidentification” with socially designated roles and expectations, enables a different partition of the sensible. Lowry’s The Giver delineates the process of dissensual subjectivation of its protagonist Jonas, the designated receiver of memory who learns about the ugly truth of his society behind its peaceful, egalitarian facade. Jonas’s society, a dystopian future community characterized by rigid rules and regulations with no room for any personal choice, abides by what Rancière calls ‘police’ logic. Memories transferred to Jonas introduce an element of heterogeneity and dissensus into his world of enforced sameness. In refusing his alloted role as receiver and embarking on an arduous journey to Elsewhere, Jonas not only impels his society to decompose and recompose its perceptible organization but also envisions an alternative, more egalitarian mode of existence that embraces the constitutive outside of its social regime.
Abstract
This paper examines Lois Lowry’s novel The Giver in relation to Jacques Rancière’s political theory and philosophy, particularly in terms of his key concepts, such as “the partition of the sensible,” “dissensus,” and “subjectivation.” This inquiry aims to foreground the important function of politics in revealing the arbitrariness of social distribution of power and bringing about reconfiguration of dominant ways of perceiving and dividing the world. Dissensual subjectivation, brought about by political “disidentification” with socially designated roles and expectations, enables a different partition of the sensible. Lowry’s The Giver delineates the process of dissensual subjectivation of its protagonist Jonas, the designated receiver of memory who learns about the ugly truth of his society behind its peaceful, egalitarian facade. Jonas’s society, a dystopian future community characterized by rigid rules and regulations with no room for any personal choice, abides by what Rancière calls ‘police’ logic. Memories transferred to Jonas introduce an element of heterogeneity and dissensus into his world of enforced sameness. In refusing his alloted role as receiver and embarking on an arduous journey to Elsewhere, Jonas not only impels his society to decompose and recompose its perceptible organization but also envisions an alternative, more egalitarian mode of existence that embraces the constitutive outside of its social regime.
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