문화적 경계지대와 이산적 정체성 - 쥼파 라히리의 『네임세이크』
Cultural Borderlands and Diasporic Identity: Jhumpa Lahiri’s The Namesake
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This paper aims to reveal what Jhumpa Lahiri considers to be the meaningful diasporic identity, focusing on The Namesake. In describing the narratives of Ashoke and Ashima Ganguli who are the typical postcolonial diasporic subjects produced by the 1965 Immigration Law, Lahiri puts an emphasis on how they re-create their ‘home' in the unfamiliar American society not only by maintaining their bond with their home country's traditional culture but by forming a Bengali diasporic community. The newly recreated ‘home' enables them to overcome their sense of loss, to keep their authentic identity and survive whole against the marginalization of American society. The narratives of Gogol and Moushumi show that the predicament of the second-generation diasporic subjects lies in their two-fold minority positions. They have difficulty keeping in touch with their Bengali culture due to their physical and mental distance from their home country. Moreover, they feel their position as ethnic minority prevents them from being completely integrated into the main stream of American society. Moushumi struggles to free herself from the stifling ethnic expectations of her parents and ethnic community by performing the role of ‘foreigner' in the third space of France. However, the authenticity of her seemingly free life is questioned. It is revealed that the author is more supportive of Gogol's formation of diasporic identity. Gogol who once struggled to resist his cultural roots and assimilate himself into the main society, finally ends up in fully recognizing the true meaning of his name ‘Gogol' and the importance of maintaining the bonding with his cultural roots.
Abstract
This paper aims to reveal what Jhumpa Lahiri considers to be the meaningful diasporic identity, focusing on The Namesake. In describing the narratives of Ashoke and Ashima Ganguli who are the typical postcolonial diasporic subjects produced by the 1965 Immigration Law, Lahiri puts an emphasis on how they re-create their ‘home' in the unfamiliar American society not only by maintaining their bond with their home country's traditional culture but by forming a Bengali diasporic community. The newly recreated ‘home' enables them to overcome their sense of loss, to keep their authentic identity and survive whole against the marginalization of American society. The narratives of Gogol and Moushumi show that the predicament of the second-generation diasporic subjects lies in their two-fold minority positions. They have difficulty keeping in touch with their Bengali culture due to their physical and mental distance from their home country. Moreover, they feel their position as ethnic minority prevents them from being completely integrated into the main stream of American society. Moushumi struggles to free herself from the stifling ethnic expectations of her parents and ethnic community by performing the role of ‘foreigner' in the third space of France. However, the authenticity of her seemingly free life is questioned. It is revealed that the author is more supportive of Gogol's formation of diasporic identity. Gogol who once struggled to resist his cultural roots and assimilate himself into the main society, finally ends up in fully recognizing the true meaning of his name ‘Gogol' and the importance of maintaining the bonding with his cultural roots.
참고문헌 (30)
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