뒤틀린 거울: 조이스의 사실주의와 자연주의 패러디-『젊은 예술가의 초상』을 중심으로
Distorting Mirror:Joyce's Parody of Realism and Naturalism
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The purpose of this study is to analyze Joyce's parodic treatment of realism and naturalism. Flaubert is a primary object of parody. Joyce exposes the hypocrisy of realists who would elevate the natural. In fact, Joyce sets up a dialectical tension between romanticism and realism/naturalism in order to displace both of them. Such a tension is expressed in the scene of the Agricultural show in Madame Bovary, where "language of romantic love" spoken by Emma and Rodolphe is ironically juxtaposed with the "language of the land" down below. Stephen's habitual retreat into the "misrule and confusion of his father's house" just when his romantic dreams become blunted recapitulates Flaubert's system of realism deflating the pretence of romanticism. In parodying both realism and naturalism, Joyce engages in what Bakhtin terms a "new mode for working creatively with language", whereby he "looks at language from the outside, with another's eyes, from the point of view of a potentially different language and style. As a result, A Portrait parodies other genres and exposes the conventionality of their forms and their language.
Abstract
The purpose of this study is to analyze Joyce's parodic treatment of realism and naturalism. Flaubert is a primary object of parody. Joyce exposes the hypocrisy of realists who would elevate the natural. In fact, Joyce sets up a dialectical tension between romanticism and realism/naturalism in order to displace both of them. Such a tension is expressed in the scene of the Agricultural show in Madame Bovary, where "language of romantic love" spoken by Emma and Rodolphe is ironically juxtaposed with the "language of the land" down below. Stephen's habitual retreat into the "misrule and confusion of his father's house" just when his romantic dreams become blunted recapitulates Flaubert's system of realism deflating the pretence of romanticism. In parodying both realism and naturalism, Joyce engages in what Bakhtin terms a "new mode for working creatively with language", whereby he "looks at language from the outside, with another's eyes, from the point of view of a potentially different language and style. As a result, A Portrait parodies other genres and exposes the conventionality of their forms and their language.
참고문헌 (15)
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- Bloom, Herold, "Modern Critical Interpretations: James Joyce's 'A Portrait of the Artist as a Young Man" (1988), Chelsea House
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- Farrell, James T., "Joyce's 'A Portrait of the Artist, In James Joyce: Two decades of Criticism" (2000), Vanguard Press
- Flaubert, Gustave, "Madame Bovary. 1857. Trans. Francis Steegmuller" (1982), The Modern Library
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- Henke, Suzette, "Stephen Dedalus and Women: A Portrait of the Artist as a Young Man, In Modern Critical Interpretations: 'A Portrait of the Artist as a Young Man" (1988), Chelsea House
- Holland, Norman, "A Portrait as Rebellion" in Kershner" (1988), Complete
- Hutcheon, Linda, "A Theory of Parody: The Teachings of Twentieth Century Art Forms" (1985), Routledge
- Joyce, James, "A Portrait of the Artist as a Young Man" (1992), Penguin
- Kershner, R. B, "Joyce, Bakhtin, and Popular Literature: Chronicles of Disorder" (1989), The Univ. of North Carolina Press
- Kershner, R. B, "The Artist as Text: Dialogism and Incremental Repetition in Joyce's 'Portrait", ELH, pp.53~ (1989)
- Kershner, R. B, "A Portrait of the Artist as a Young Man': Complete, Authoritative Text with Biographical and Historical Contexts, Critical History, and Essays from Five Contemporary Critical Perspectives" (1993), Bedford Books of St. Martin's Press
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