Dialogic Carnival Subversion in Go Down, Moses
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Carnival is dialogic because the spirit of carnival lies in its ambivalence and its resistance in order to avoid the choices between opposing alternatives. Bakhtinian carnival ambivalence is closely related to the carnival grotesque. Faulkner’s opinion on comedy and tragedy is very close to the concept of the grotesque, which allows the opposite characteristics at the same time and thereby invites ambivalence. It seems to me that the carnival-grotesque images of ambivalence and incompleteness are the energy source to think again about the status quo and a new possibility of truths in life. This study examines how Faulkner employs the carnival grotesque to illustrate many truths in life and racial problems in the American South. Carnival laughter, which cherishes dialogic many-sidedness of life and consequently otherness, is inseparable from the grotesque. Carnival laughter subverts authoritarian closure and embraces marginal otherness. In this study I deal with the ambivalent carnival laughter of a marginal character in the American Southern community to reveal the oppressed voice of the other in terms of race as well. Carnival laughter also shows the oppressed character’s subversive resistance to racism in the community. Overall, this study explores Bakhtinian dialogic carnival subversion, examining African American characters who subvert fixed and prejudiced thoughts on them in Go Down, Moses. Even though the gap between blacks and whites are too big to understand each other, carnival subversion in Go Down, Moses allows the suppressed voices of blacks as others to be heard and urges us to question the social status quo of African Americans.
Abstract
Carnival is dialogic because the spirit of carnival lies in its ambivalence and its resistance in order to avoid the choices between opposing alternatives. Bakhtinian carnival ambivalence is closely related to the carnival grotesque. Faulkner’s opinion on comedy and tragedy is very close to the concept of the grotesque, which allows the opposite characteristics at the same time and thereby invites ambivalence. It seems to me that the carnival-grotesque images of ambivalence and incompleteness are the energy source to think again about the status quo and a new possibility of truths in life. This study examines how Faulkner employs the carnival grotesque to illustrate many truths in life and racial problems in the American South. Carnival laughter, which cherishes dialogic many-sidedness of life and consequently otherness, is inseparable from the grotesque. Carnival laughter subverts authoritarian closure and embraces marginal otherness. In this study I deal with the ambivalent carnival laughter of a marginal character in the American Southern community to reveal the oppressed voice of the other in terms of race as well. Carnival laughter also shows the oppressed character’s subversive resistance to racism in the community. Overall, this study explores Bakhtinian dialogic carnival subversion, examining African American characters who subvert fixed and prejudiced thoughts on them in Go Down, Moses. Even though the gap between blacks and whites are too big to understand each other, carnival subversion in Go Down, Moses allows the suppressed voices of blacks as others to be heard and urges us to question the social status quo of African Americans.
참고문헌 (24)
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