(Un)Making of Jacob Flanders: Photographic Approach to the Narrative Structure and Deconstruction of the Bildungsheld in Jacob’s Room
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This paper makes a photographic approach to the narrative form rendered in Virginia Woolf’s Jacob’s Room widely acknowledged as her first experimental novel. In a textual level, Woolf’s employment of a polyvocal narrative of marginal characters, randomly dispatched throughout the novel, contributes in disrupting the teleological development of the central narrative of the bildungsheld (a bildungsroman hero). In a thematic level, reading through the lens of Benjaminian sense of aura, I argue that the optics of the marginal characters which function as a modern camera continuously (re)produces the image of the bildungsheld, and subsequently makes his authentic representation improbable and deconstructs the aura embedded in the traditional bildungsheld. I further develop a term ‘aperture narrative’ in order to signify how the mechanic movement of the aperture in the optics of the marginal characters regulates the presence of the bildungsheld from the text and how they facilitate the ‘aperture narrative’ as a means to manifest their individual consciousness. As for the modern readers, Woolf’s use of such experimental narrative invites the readers to rethink center and margin clearly bifurcated in the traditional bildungsroman narrative and to actively engage themselves in (un)making of the bildungsheld.
Abstract
This paper makes a photographic approach to the narrative form rendered in Virginia Woolf’s Jacob’s Room widely acknowledged as her first experimental novel. In a textual level, Woolf’s employment of a polyvocal narrative of marginal characters, randomly dispatched throughout the novel, contributes in disrupting the teleological development of the central narrative of the bildungsheld (a bildungsroman hero). In a thematic level, reading through the lens of Benjaminian sense of aura, I argue that the optics of the marginal characters which function as a modern camera continuously (re)produces the image of the bildungsheld, and subsequently makes his authentic representation improbable and deconstructs the aura embedded in the traditional bildungsheld. I further develop a term ‘aperture narrative’ in order to signify how the mechanic movement of the aperture in the optics of the marginal characters regulates the presence of the bildungsheld from the text and how they facilitate the ‘aperture narrative’ as a means to manifest their individual consciousness. As for the modern readers, Woolf’s use of such experimental narrative invites the readers to rethink center and margin clearly bifurcated in the traditional bildungsroman narrative and to actively engage themselves in (un)making of the bildungsheld.
참고문헌 (28)
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