가족 아카이브의 재현과 재창조: 앨리슨 벡델의 『재미있는 집』
Visual Representation and Regeneration of Family Archives in Alison Bechdel’s Fun Home: A Family Tragicomic
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Chosen by Time magazine as the best book of the year (2006), Alison Bechdel’s Fun Home: A Family Tragicomic garnered public admiration and academic attention. This paper studies how Bechdel represents and recreates familial archives as an artwork, a public text, leading to the posthumous coming-out of a closeted gay man, Bruce Bechdel. The archives are not only materials but a driving force for Bechdel to probe the truth related to the sudden death of her father. The photo of a babysitter Roy serves as evidence of Bruce’s hidden life and as a persistent memory to Bechdel, resulting in the creation of Fun Home 20 years after her father’s death. Kept inside the family photo folder, this photo jeopardizes the concept of family archive. Along with its title, the book registers as an incarnation of Bechdel family’s gothic revival house, at once an archive itself and a repository of the family archives. Familial archives in Fun Home encompass Bechdel’s own diaries, drawings, family photos, letters between family members, local maps, the police record of her father and his school transcript as well. Intertextual references are also a part of family archives in the sense that those books had been read and loved by Bruce. While Bechdel is retrieving her father’s beloved text, Ulysses, this family archive becomes ‘an intergenerational archive.’ Bechdel recuperates this text to claim a paternal heritage in her makeup as a lesbian artist. The archives employed in this work are recreated laboriously and “very painstakingly” by Bechdel and re-presented to readers to offer her private history in a public context. That Bruce Bechdel has come out posthumously is the main effect of an artwork made out of familial archives, which is Fun Home.
Abstract
Chosen by Time magazine as the best book of the year (2006), Alison Bechdel’s Fun Home: A Family Tragicomic garnered public admiration and academic attention. This paper studies how Bechdel represents and recreates familial archives as an artwork, a public text, leading to the posthumous coming-out of a closeted gay man, Bruce Bechdel. The archives are not only materials but a driving force for Bechdel to probe the truth related to the sudden death of her father. The photo of a babysitter Roy serves as evidence of Bruce’s hidden life and as a persistent memory to Bechdel, resulting in the creation of Fun Home 20 years after her father’s death. Kept inside the family photo folder, this photo jeopardizes the concept of family archive. Along with its title, the book registers as an incarnation of Bechdel family’s gothic revival house, at once an archive itself and a repository of the family archives. Familial archives in Fun Home encompass Bechdel’s own diaries, drawings, family photos, letters between family members, local maps, the police record of her father and his school transcript as well. Intertextual references are also a part of family archives in the sense that those books had been read and loved by Bruce. While Bechdel is retrieving her father’s beloved text, Ulysses, this family archive becomes ‘an intergenerational archive.’ Bechdel recuperates this text to claim a paternal heritage in her makeup as a lesbian artist. The archives employed in this work are recreated laboriously and “very painstakingly” by Bechdel and re-presented to readers to offer her private history in a public context. That Bruce Bechdel has come out posthumously is the main effect of an artwork made out of familial archives, which is Fun Home.
참고문헌 (22)
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