말하여지지 않은 것과 잊혀진 목소리의 복원: 에드워드 존스의 『알려진 세계』
Restoration of the Unspoken and Forgotten Voices: Edward P. Jones’s The Known World
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Edward P. Jones’s The Known World (2003) represents slavery and the dynamics of the racial relations between blacks and whites by employing the form of the postmodern historical novel. The uniqueness of his narrative lies in the way in which he meticulously explores the mechanics of slavery and the ramification of its power with special emphasis on the black slaveonwers. He criticizes the discourses on the binary opposition of race, class, and gender that have been generated from slavery by whites. In The Known World, Jones invites the reader to a new recognition that transcends the self-evident contradiction of the institution of slavery by focusing on its complexity and multifariousness. In his depiction of black slaveowners and their anomalies, Jones insinuates that this practice had been operated as a way to counter the absolute power of the institution of slavery that treated blacks as a thing or property. Black writers’ writing of slavery is a way of resisting white discourses and of representing history from their own perspective. Jones articulates that we know very little of the world we think we know, and slavery did not end more than a century ago, but still continues to exert its influence on us.
Abstract
Edward P. Jones’s The Known World (2003) represents slavery and the dynamics of the racial relations between blacks and whites by employing the form of the postmodern historical novel. The uniqueness of his narrative lies in the way in which he meticulously explores the mechanics of slavery and the ramification of its power with special emphasis on the black slaveonwers. He criticizes the discourses on the binary opposition of race, class, and gender that have been generated from slavery by whites. In The Known World, Jones invites the reader to a new recognition that transcends the self-evident contradiction of the institution of slavery by focusing on its complexity and multifariousness. In his depiction of black slaveowners and their anomalies, Jones insinuates that this practice had been operated as a way to counter the absolute power of the institution of slavery that treated blacks as a thing or property. Black writers’ writing of slavery is a way of resisting white discourses and of representing history from their own perspective. Jones articulates that we know very little of the world we think we know, and slavery did not end more than a century ago, but still continues to exert its influence on us.
참고문헌 (14)
- 헤겔, "정신현상학" (2005), 한길사
- Bassard, Katherine, "Imagining Other Worlds: Race, Gender, and the ‘Power Line’ in Edward P. Jones’s The Known World", African American Review, 42(3), pp.407~419 (2008)
- Byerman,Keith, "Remembering the Past in Contemporary African American Fiction" (2005), Univ. of North Carolina P
- Donaldson, Susan V, "Telling Forgotten Stories of Slavery in the Postmodern South", Southern Literary Journal, 40(2), pp.267~283 (2008)
- Hutcheon,Linda, "The Politics of Postmodernism" (1989), Routledge
- Ikard, David, "White Supremacy under Fire: The Unrewarded Perspective in Edward P. Jones’s The Known World", MELUS, 36(3), pp.63~85 (2011)
- Johnson, Iris N, "Contemporary Ownership: The Master, the Slave, and the self in Edward P. Jones’s The Known World, In Revisiting Slave Narratives", pp.129~154, Montpellier Univ. P
- Jones,Edward P, "All Aunt Hagar’s Children" (2006), HarperCollins Publishers
- Jones,Edward P, "Lost in the City" (1992), HarperCollins Publishers, Inc
- Jones,Edward P, "The Known World" (2003), Amistad
- Mitchell,Angelyn, "The Freedom to Remember: Narrative, Slavery, and Gender in Contemporary Black Women’s Fiction" (2002), Rutgers UP
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- Ryan, Tim A, "Calls and Responses: The American Novel of Slavery Since Gone with the Wind" (2008), LSU Press
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