기원의 위반과 문학 과정: 단테의 [지옥] 26곡에 나타난 오디세우스에 대한 연구
Literary Procedure as Transgression of Origin: A Study of the Theme of Odysseus in the Odyssey and the Divine Comedy
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The premise is that the true meaning of Dante's salvation can be understood as 'literary procedure' to which inviting the readers, instead of forcing them to the salvation pre-completed or pre-destined by God. This kind of interpretation was suggested by Dante scholars, for example by relating it effectively to Odysseus' journey but if I may add, I should like to clarify the meaning of Dante's pilgrimage in relation to Odysseus' 'return' (which may well be linked to the Buddhist way of salvation) from which we can consider Dante's pilgrimage as an unstoppably continuous, circulative journey toward incessantly changeable reality. This kind of journey is rather an appropriate figure of 'literature'; only if we as the readers participate in Dante's pilgrimage, we are able to make conversational relationship with him. One of the problems we face above is the relationship between reality and fiction, which has been an unsolved problem in literary history. In particular, Homer and Dante seemed to intend to experience, with their poems, the transits between reality and fiction. The relationship arises in complex procedure insofar as we can think of the endless relationship-chains such as reality in fiction, fiction in reality, and the two involved in reality or fiction, and all of these in reality or fiction, and so forth and so on. If reality in fiction relates to protagonists' position, fiction in reality or reality in fiction to the author's position; in any case, the author controls both reality and fiction at least in his own fictional machine as it were in which we may consider textual strategy (or the world of text) and authorial strategy (or the world of text). In order to understand ‘return’as juncture between literary form(or fictional world) and real world, we need to survey what composes it. There are various things that decorate Odysseus’return such as power struggle, deception, temptation, and disguise, etc, which all delay Odysseus’ return and make it porous. If we recognize that literature is destined to maintain tension with reality whatever it is, we are already involved in the literary procedure which is itself incessantly variable, in-process, and thus contextual by refusing any fixed origin. If Homer's Odyssey is taken it for granted that it is naturally a classic leading us to the eternal truth, it might not be his authorial intention but rather a result that the blind readers have intended. Dante possesses the "licence to play God unchecked" in his scribal relation to God. What is at stake here is that this occurs in both real and fictional worlds; in reality he plays God's providence, in fiction he plays literary procedure. I agree with Barolini in that Dante was not an unconscious visionary; rather "he was fully aware of - and afraid of - the implications that follow from believing that what one writes is true." Here truth does not indicate an ultimate fixed origin but rather the procedure itself that a writer who unfolds his literary consciousness in his actual praxis of constructing a literary text. This would be a point for understanding either Homer or Dante as the writers armed with literary consciousness whereby focusing on their intentions to produce literary procedure. If one would like to describe their poems as relationship-based texts, the most prevailing point is that they create textual tension so as not to lose another tension with the readers and, further, our reality. All the transgressions are meaningful and possible. It will be more obvious in such ambitious literary enterprises as Homer's Odyssey and Dante's Divine Comedy along with the reader's participations. The author's anticipation is never completed or intended to be completed so as to anticipate the wandering readings; further, exactly from here, their enterprises are completed to become Gods of their poems.
Abstract
The premise is that the true meaning of Dante's salvation can be understood as 'literary procedure' to which inviting the readers, instead of forcing them to the salvation pre-completed or pre-destined by God. This kind of interpretation was suggested by Dante scholars, for example by relating it effectively to Odysseus' journey but if I may add, I should like to clarify the meaning of Dante's pilgrimage in relation to Odysseus' 'return' (which may well be linked to the Buddhist way of salvation) from which we can consider Dante's pilgrimage as an unstoppably continuous, circulative journey toward incessantly changeable reality. This kind of journey is rather an appropriate figure of 'literature'; only if we as the readers participate in Dante's pilgrimage, we are able to make conversational relationship with him. One of the problems we face above is the relationship between reality and fiction, which has been an unsolved problem in literary history. In particular, Homer and Dante seemed to intend to experience, with their poems, the transits between reality and fiction. The relationship arises in complex procedure insofar as we can think of the endless relationship-chains such as reality in fiction, fiction in reality, and the two involved in reality or fiction, and all of these in reality or fiction, and so forth and so on. If reality in fiction relates to protagonists' position, fiction in reality or reality in fiction to the author's position; in any case, the author controls both reality and fiction at least in his own fictional machine as it were in which we may consider textual strategy (or the world of text) and authorial strategy (or the world of text). In order to understand ‘return’as juncture between literary form(or fictional world) and real world, we need to survey what composes it. There are various things that decorate Odysseus’return such as power struggle, deception, temptation, and disguise, etc, which all delay Odysseus’ return and make it porous. If we recognize that literature is destined to maintain tension with reality whatever it is, we are already involved in the literary procedure which is itself incessantly variable, in-process, and thus contextual by refusing any fixed origin. If Homer's Odyssey is taken it for granted that it is naturally a classic leading us to the eternal truth, it might not be his authorial intention but rather a result that the blind readers have intended. Dante possesses the "licence to play God unchecked" in his scribal relation to God. What is at stake here is that this occurs in both real and fictional worlds; in reality he plays God's providence, in fiction he plays literary procedure. I agree with Barolini in that Dante was not an unconscious visionary; rather "he was fully aware of - and afraid of - the implications that follow from believing that what one writes is true." Here truth does not indicate an ultimate fixed origin but rather the procedure itself that a writer who unfolds his literary consciousness in his actual praxis of constructing a literary text. This would be a point for understanding either Homer or Dante as the writers armed with literary consciousness whereby focusing on their intentions to produce literary procedure. If one would like to describe their poems as relationship-based texts, the most prevailing point is that they create textual tension so as not to lose another tension with the readers and, further, our reality. All the transgressions are meaningful and possible. It will be more obvious in such ambitious literary enterprises as Homer's Odyssey and Dante's Divine Comedy along with the reader's participations. The author's anticipation is never completed or intended to be completed so as to anticipate the wandering readings; further, exactly from here, their enterprises are completed to become Gods of their poems.
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