마가렛 앳우드의 『타버린 집에서의 아침』의 죽음, 우울증적 주체와 예술 창조
Death, Melancholic Subjectivity and Artistic Creation in Margaret Atwood’s Morning in the Burned House
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This paper examines the ways that Atwood, in her poetry collection Morning in the Burned House, explores hopeful signs of reconciliation and renewal even as she explores human suffering, conflict, and death. In this collection, which features self-elegy, Atwood yokes together the melancholic subject with the process of artistic creation to create an aesthetics of rapprochement. Intertwining the fictional and the real or material, Atwood engages in the work of mourning through which she is able to revitalize herself. This is the way in which Kristeva elaborates her view on art or writing by linking artistic creativity with melancholia. Incorporating the problematic version of her father in the poems, Atwood creates a character whose very nature is dynamic model of the writer’s doubleness, and substantiates her own work of mourning. Unlike the traditional elegy, in which the mourner seeks substitutes for his/her loss, the speaker challenges loss and death by incessantly conjuring up what she has lost. Rather than close off what her father’s death has set in motion for her, Atwood offers us a narrative of subjectivity or identity where trauma remains legible in a liminal yet continually present fashion. The fear or desire of death is kept present in the melancholic subject; it is not consigned to an oblivion. Atwood’s mourning poems illustrate how writing and narrating can act as agent through which to overcome melancholia.
Abstract
This paper examines the ways that Atwood, in her poetry collection Morning in the Burned House, explores hopeful signs of reconciliation and renewal even as she explores human suffering, conflict, and death. In this collection, which features self-elegy, Atwood yokes together the melancholic subject with the process of artistic creation to create an aesthetics of rapprochement. Intertwining the fictional and the real or material, Atwood engages in the work of mourning through which she is able to revitalize herself. This is the way in which Kristeva elaborates her view on art or writing by linking artistic creativity with melancholia. Incorporating the problematic version of her father in the poems, Atwood creates a character whose very nature is dynamic model of the writer’s doubleness, and substantiates her own work of mourning. Unlike the traditional elegy, in which the mourner seeks substitutes for his/her loss, the speaker challenges loss and death by incessantly conjuring up what she has lost. Rather than close off what her father’s death has set in motion for her, Atwood offers us a narrative of subjectivity or identity where trauma remains legible in a liminal yet continually present fashion. The fear or desire of death is kept present in the melancholic subject; it is not consigned to an oblivion. Atwood’s mourning poems illustrate how writing and narrating can act as agent through which to overcome melancholia.
참고문헌 (17)
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