『대리모 이야기』의 현재성: 희망 없는 시대의 정치학
The Relevance of Margaret Atwood’s Handmaid’s Tale
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This article traces the process in which the narrator Offred’s narrative is constructed as her own survival strategy. Faced with unavailability of adequate discourse to narrate her story in the suffocating totalitarian society, Offred comes up with a highly fragmented narrative where she constantly vacillates between past and present, her own life experience and others’ life-stories, and reflections on past events and alert consciousness on current surroundings. Thus the narrative form becomes an amalgam of disparate lives, different moments, and contradictory perspectives. While this highly fragmented narrative form constantly blocks the unified representation of Offred’s and others’ life-stories, the very aesthetic form enables the oppressed people’s lived lives to be narratively re-inscribed without losing their respective individualities. Further, throughout the narrative process, a sense of solidarity between the narrator and the oppressed others emerges in contradistinction to the dominant and abstract discourse of the regime whose edifice is maintained essentially by the legitimation and imposition of its national idea(l). Ultimately, the narrative’s dialectical movement of fragmentedness and solidarity, collectivity and individuality demonstrates that the ‘beyond’ of dystopian present lies not in a coherent utopian program but the ruptures that social others make within the society.
Abstract
This article traces the process in which the narrator Offred’s narrative is constructed as her own survival strategy. Faced with unavailability of adequate discourse to narrate her story in the suffocating totalitarian society, Offred comes up with a highly fragmented narrative where she constantly vacillates between past and present, her own life experience and others’ life-stories, and reflections on past events and alert consciousness on current surroundings. Thus the narrative form becomes an amalgam of disparate lives, different moments, and contradictory perspectives. While this highly fragmented narrative form constantly blocks the unified representation of Offred’s and others’ life-stories, the very aesthetic form enables the oppressed people’s lived lives to be narratively re-inscribed without losing their respective individualities. Further, throughout the narrative process, a sense of solidarity between the narrator and the oppressed others emerges in contradistinction to the dominant and abstract discourse of the regime whose edifice is maintained essentially by the legitimation and imposition of its national idea(l). Ultimately, the narrative’s dialectical movement of fragmentedness and solidarity, collectivity and individuality demonstrates that the ‘beyond’ of dystopian present lies not in a coherent utopian program but the ruptures that social others make within the society.
참고문헌 (24)
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