The Theatre of Difference in The Buddha of Suburbia: Focused on Gilles Deleuze’s concepts of Difference, Repetiton and Dramatization
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This paper explores ways of rethinking difference, in particular racialdifference, in Hanif Kureishi’s novel, The Buddha of Suburbia, with particularreference to Gilles Deleuze’s conceptions of difference itself anddramatization. In the novel, the protagonist Karim, as a mixed-race ofPakistani father and English mother, is forced to recognize his racialidentity as a negativity in London, where mass immigration has lefthybridizing marks everywhere. On a quest for his identity, Karimremarks, “I am an English man born and bred, almost.” His self-recognitionof identity implies an incompletion of identity, as suggested by thenuance of the word “almost.” However, from Deleuze’s perspective ofdifference itself and dramatization, Karim, as a theatre actor, repeats hisidentity differently and comes to affirm his difference as a plethora ofdifferences rather than as the negativity of identity as a non-whiteness. Throughout this paper, I argue that Deleuze’s approach offers morepotentialities for the study of difference than Homi Bhabha’s “differencewithin” and “hybridity,” which is still trapped in difference betweenblack and white. It is my contention here that we need to look beyondidentity as a centralised or organisational force, and rather to the creativeprocess of affirmation through difference.
Abstract
This paper explores ways of rethinking difference, in particular racialdifference, in Hanif Kureishi’s novel, The Buddha of Suburbia, with particularreference to Gilles Deleuze’s conceptions of difference itself anddramatization. In the novel, the protagonist Karim, as a mixed-race ofPakistani father and English mother, is forced to recognize his racialidentity as a negativity in London, where mass immigration has lefthybridizing marks everywhere. On a quest for his identity, Karimremarks, “I am an English man born and bred, almost.” His self-recognitionof identity implies an incompletion of identity, as suggested by thenuance of the word “almost.” However, from Deleuze’s perspective ofdifference itself and dramatization, Karim, as a theatre actor, repeats hisidentity differently and comes to affirm his difference as a plethora ofdifferences rather than as the negativity of identity as a non-whiteness. Throughout this paper, I argue that Deleuze’s approach offers morepotentialities for the study of difference than Homi Bhabha’s “differencewithin” and “hybridity,” which is still trapped in difference betweenblack and white. It is my contention here that we need to look beyondidentity as a centralised or organisational force, and rather to the creativeprocess of affirmation through difference.
참고문헌 (21)
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