제시카 하게돈의 『개를 먹는 사람들』과 콜라주 서사의 “내파적” 지평
An “Implosive” Prospect for Narrative Collage in Jessica Hagedorn’s Dogeaters
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The remarkable literary achievement of Jessica Hagedorn’s Dogeaters lies in its exceptional collage narrative techniques. The novel attempts to represent the “real” individual Filipino life, which, for the author, is by no means to be properly conveyed by the logocentric narrative of the West. Thus, Hagedorn explores the expressive possibilities of imploding the inherent colonial mentality in her characters by measuring their desires and aspirations to obtain a “real” home or their true beings. The author’s incisive use of diverse narrative forms, such as letters, historical documents, and news articles―let alone non-linear, non-chronological narratives―contributes to the construction of new structures looming with critical questions as to what the “real” Filipino life is like. Every layer of collage in the novel empties each individual character of the postcolonial context, calling forth critical questions on whether each narrative is authentic or not. To understand the main characters’ plights and their consciousness, it is important to examine the absence of a “home” in which they can feel safety, bonding, and self- identity. Probing into their historical absence of home and the deprivation of symbolic meanings in their places with collage art, the author ushers her readers into a new perspective beyond the postcolonial readings of Asian American experiences.
Abstract
The remarkable literary achievement of Jessica Hagedorn’s Dogeaters lies in its exceptional collage narrative techniques. The novel attempts to represent the “real” individual Filipino life, which, for the author, is by no means to be properly conveyed by the logocentric narrative of the West. Thus, Hagedorn explores the expressive possibilities of imploding the inherent colonial mentality in her characters by measuring their desires and aspirations to obtain a “real” home or their true beings. The author’s incisive use of diverse narrative forms, such as letters, historical documents, and news articles―let alone non-linear, non-chronological narratives―contributes to the construction of new structures looming with critical questions as to what the “real” Filipino life is like. Every layer of collage in the novel empties each individual character of the postcolonial context, calling forth critical questions on whether each narrative is authentic or not. To understand the main characters’ plights and their consciousness, it is important to examine the absence of a “home” in which they can feel safety, bonding, and self- identity. Probing into their historical absence of home and the deprivation of symbolic meanings in their places with collage art, the author ushers her readers into a new perspective beyond the postcolonial readings of Asian American experiences.
참고문헌 (17)
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