Tristram Shandy: Bawdry and the Grotesque
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Often compared to the Renaissance humorist Rabelais and even pronounced as the “English Rabelais” by Diderot, Sterne’s Shandean bawdy humor evokes a carnivalesque gaiety which belonged to the traditions of the Middle Ages. As Bakhtin stated Sterne was a novelist who wrote in the Medieval traditions of the grotesque. In order to explore the “grotesque” origins of the book’s bawdy humor we will look into the bawdy pictorial images of the grotesque marginalia of medieval manuscripts and explore the manner in which the bawdy of the edges creep into the “center,” and then proceed to discuss how this grotesque “effect” takes place in Tristram Shandy, as the narrator, Tristram, makes use of “bawdry” to engage his readers. The grotesque marginalia of medieval manuscripts abound in bawdy sexual images showing carnivalesque-grotesque ideals that seem to rejoice and ridicule the obscene and the perverse. These images in the edges surrounds the textual center and ultimately weaves itself in to create another contextual layer centering on bawdy. After examining these grotesque images and the dynamic effect created within, Tristram’s narrative which employs this grotesque “effect” by incessantly toying with bawdy sexuality to engage the reader, fictional or real, will be discussed.
Abstract
Often compared to the Renaissance humorist Rabelais and even pronounced as the “English Rabelais” by Diderot, Sterne’s Shandean bawdy humor evokes a carnivalesque gaiety which belonged to the traditions of the Middle Ages. As Bakhtin stated Sterne was a novelist who wrote in the Medieval traditions of the grotesque. In order to explore the “grotesque” origins of the book’s bawdy humor we will look into the bawdy pictorial images of the grotesque marginalia of medieval manuscripts and explore the manner in which the bawdy of the edges creep into the “center,” and then proceed to discuss how this grotesque “effect” takes place in Tristram Shandy, as the narrator, Tristram, makes use of “bawdry” to engage his readers. The grotesque marginalia of medieval manuscripts abound in bawdy sexual images showing carnivalesque-grotesque ideals that seem to rejoice and ridicule the obscene and the perverse. These images in the edges surrounds the textual center and ultimately weaves itself in to create another contextual layer centering on bawdy. After examining these grotesque images and the dynamic effect created within, Tristram’s narrative which employs this grotesque “effect” by incessantly toying with bawdy sexuality to engage the reader, fictional or real, will be discussed.
참고문헌 (14)
- Alter, Robert, "“Tristram Shandy and the Game of Love.” Motives for Fiction", pp.92~103 (1984), Cambridge UP
- Bakhtin, Mikhail, "Rabelais and His World" (1984), Indiana UP
- Bosch, René, "Labyrinth of Digressions" (2007), Rodopi
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- Byrd, Max, "Tristram Shandy" (1985), George Allen & Unwin
- Camille, Michael, "Image on the Edge" (1992), Harvard UP
- Hardin, Michael, "Is There a Straight Line in This Text? The Homoerotics of Tristram Shandy", Orbis Litterarum, 54, pp.185~202 (1999)
- Holtz, William V, "“Typography, Tristram Shandy, the Aposiopesis, etc.” The Winged Skull: Papers from the Laurence Sterne Conference", pp.247~257 (1971), Kent State UP
- Iser, Wolfgang, "Tristram Shandy" (1988), Cambridge UP
- Kay, Carol, "Political Constructions : Defoe, Richardson, and Sterne in Relation to Hobbes, Hume, and Burke" (1988), Cornell University
- Parker, Jo Alyson, "Spiraling Down the Gutter of Time: Tristram Shandy and the Strange Attractor of Death", Weber Studies, 14(1), pp.1~18 (1997)
- Porter, Roy, "Flesh in the Age of Reason" (2004), Norton
- Sterne, Laurence, "Tristram Shandy" (1980), Norton
- Wasserman, Jerry, "The Word as Object: The Rabelaisian Novel", Novel: A Forum on Fiction, 8(2), pp.123~137 (1975)