줄리언 반즈의 『영국, 영국』에 나타난 영국성의 구성과 해체
The Construction and Deconstruction of Englishness in Julian Barnes’s England, England
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Many recent British novels show a growing interest in “Englishness,” a concept that is believed to demonstrate unique traits of the island of Great Britain. This concept also emerges as a major topic of scholarly concern in contemporary literary criticism and cultural history. This paper aims to examine the construction and parodic deconstruction of Englishness in Julian Barnes’s England, England(1998), which was shortlisted for the Booker prize in 1998. In England, England, Barnes juxtaposes a wide array of competing versions of and discourse about Englishness, and provides highly self-conscious thinking about the inventiveness of cultural tradition and the problematics of historical authenticity. Barnes regards Englishness as a cultural construct, and criticizes Tony Blair’s policy of selling English culture for its lack of correct understanding of English history. He offers a complete satire of Englishness through Sir Jack Pitman, who tries to make a fortune by building an essence-of-England theme park on the Isle of Wight. In this novel, a variety of (un)favourable symbols of Englishness were constructed. Describing the process of inventing Englishness, Barnes argues that Englishness is an “invented tradition,” while at the same time deconstructing the term by revealing negative characteristics of Pitman’s Project Co-ordinating Committee―racism, xenophobia, and separatist tendencies. The first part of this paper provides a thematic and formal analysis of Barnes’s fictional exploration into that invented tradition. Focusing on the relation between the original and the replica, the second part investigates how the content and form of England, England self-consciously debunk the notion of authenticity. The third part is mainly concerned with the epistemological implications of Barnes’s novel. It suggests that the notion of historical authenticity is faked and displays the artificiality of cultural tradition. What is denied here is the notion of an ‘authentic’ Englishness, one that can be recuperable from the past. The concluding part of this paper offers a brief summary which evaluates Barnes’s achievement against current historical, cultural, and literary search for Englishness.
Abstract
Many recent British novels show a growing interest in “Englishness,” a concept that is believed to demonstrate unique traits of the island of Great Britain. This concept also emerges as a major topic of scholarly concern in contemporary literary criticism and cultural history. This paper aims to examine the construction and parodic deconstruction of Englishness in Julian Barnes’s England, England(1998), which was shortlisted for the Booker prize in 1998. In England, England, Barnes juxtaposes a wide array of competing versions of and discourse about Englishness, and provides highly self-conscious thinking about the inventiveness of cultural tradition and the problematics of historical authenticity. Barnes regards Englishness as a cultural construct, and criticizes Tony Blair’s policy of selling English culture for its lack of correct understanding of English history. He offers a complete satire of Englishness through Sir Jack Pitman, who tries to make a fortune by building an essence-of-England theme park on the Isle of Wight. In this novel, a variety of (un)favourable symbols of Englishness were constructed. Describing the process of inventing Englishness, Barnes argues that Englishness is an “invented tradition,” while at the same time deconstructing the term by revealing negative characteristics of Pitman’s Project Co-ordinating Committee―racism, xenophobia, and separatist tendencies. The first part of this paper provides a thematic and formal analysis of Barnes’s fictional exploration into that invented tradition. Focusing on the relation between the original and the replica, the second part investigates how the content and form of England, England self-consciously debunk the notion of authenticity. The third part is mainly concerned with the epistemological implications of Barnes’s novel. It suggests that the notion of historical authenticity is faked and displays the artificiality of cultural tradition. What is denied here is the notion of an ‘authentic’ Englishness, one that can be recuperable from the past. The concluding part of this paper offers a brief summary which evaluates Barnes’s achievement against current historical, cultural, and literary search for Englishness.
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