마가렛 앳우드 시의 경계 흐리기
Blurring Boundaries in the Poetry of Margaret Atwood
2
조회
0
다운로드
0
인용
0
참고문헌
키워드
초록
This paper explores Margaret Atwood’s interest in boundaries or duality that challenges binary forces in existing social realities. While using polar opposites that express duality, Atwood often invites blurring boundaries between them. In her poetry particularly boundaries and borders are represented in fluid and provisional imagery that transcends rigid boundaries, opening up a passage to renewal. Being located in such a borderline setting, space, self, language and death enable new possibilities for existence. It is this temporary positionality that allows for possible changes in both sides. Atwood’s interrogation of postionality can be considered within the context of Julia Kristeva’s notion of the semiotic that reconstitutes the symbolic. Kristeva argues that the abject or poetic language is a precondition of the symbolic, yet it is only through the presence of the symbolic that its heterogeneous, subversive forces begin to become evident. This model is comparable to Atwood’s definition of a poet’s role, which challenges binary oppositions by negotiating the gap while inscribing duality.
Abstract
This paper explores Margaret Atwood’s interest in boundaries or duality that challenges binary forces in existing social realities. While using polar opposites that express duality, Atwood often invites blurring boundaries between them. In her poetry particularly boundaries and borders are represented in fluid and provisional imagery that transcends rigid boundaries, opening up a passage to renewal. Being located in such a borderline setting, space, self, language and death enable new possibilities for existence. It is this temporary positionality that allows for possible changes in both sides. Atwood’s interrogation of postionality can be considered within the context of Julia Kristeva’s notion of the semiotic that reconstitutes the symbolic. Kristeva argues that the abject or poetic language is a precondition of the symbolic, yet it is only through the presence of the symbolic that its heterogeneous, subversive forces begin to become evident. This model is comparable to Atwood’s definition of a poet’s role, which challenges binary oppositions by negotiating the gap while inscribing duality.
참고문헌 (14)
- 최태숙, "마가렛 앳우드의 『타버린 집에서의 아침』의 죽음, 우울증적 주체와 예술 창조", 현대영미시연구, 18(2), pp.97~122 (2012), 한국현대영미시학회
- Atwood, Margaret, "The Animals in That Country" (1968), Oxford UP
- Atwood, Margaret, "The Circle Game" (1966), Anansi
- Atwood, Margaret, "Eating Fire: Selected Poetry 1965-1995" (2000), Virago Press
- Atwood, Margaret, "Negotiating with the Dead: A Writer on Writing" (2002), Cambridge UP
- Atwood, Margaret, "Second Words: Selected Critical Prose" (1982), Anansi
- Atwood, Margaret, "Survival : A Thematic Guide to Canadian Literature(1972)" (2004), McClelland & Stewart
- Fiamengo, Janice, "A Last Imoe for This Also: Margaret Atwood’s Text of Mourning", Canadian Literature, 166(Autumn), pp.145~164 (2000)
- Gorjup, Branko, "The Cambridge Companion to Margaret Atwood", pp.130~144 (2006), Cambridge UP
- Hengen, Shannon, "Margaret Atwood’s Power: Mirrors, Reflections and Images in Select Fiction and Poetry" (1993), Second Story P
- Keating, Christine C., "Unearthing the Goddess Within: Feminist Revisionist Mythology in the Poetry of Margaret Atwood", Women’s Studies, 43, pp.483~501 (2014)
- Kristeva, Julia, "Powers of Horror: An Essay on Abjection" (1982), Columbia UP
- Kristeva, Julia, "Revolution in Poetic Language" (1984), Columbia UP
- Somacarrera, Pilar, "The Cambridge Companion to Margaret Atwood", pp.43~57 (2006), Cambridge UP