Doubles that ＂Cleave and Reveal＂ Love: Their Religious Implication in Toni Morrison's Love
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Morrison's novels have been studied mostly in relation with gender, race, or postcolonial discourses. However, specially in later novels, Morrison comes to distrust any social revolution and rather rely on inner revolutions to overcome prejudices and injustice. Her recent novel, Love, more directly addresses the need of inner revolution which is made possible by recognizing ambiguities and duplicity hidden under the surface. In this sense, Morrison's religious dimension, which started to be added from Paradise, becomes more solidified in this last novel. Her frequent doubles incarnate the duplicity of all concepts and things, and at the end of conflicts and feuds, they arrive at reconciliation, by which Morrison cleaves and reveals her religious vision, that is, religion of love. This essay aims to prove that doubles as dramatic polarity amount to a deliberate device to dramatize her religious vision, and also to explore how Morrison defines love which is the most contaminated word now. Her concept of love goes beyond the sphere of ethics, but it is enhanced to the dimension of the ultimate reality, thus to the religious dimension. However, there is no direct encounter with a certain transcendent presence, but Morrison does not hesitate to present some transcendent characters who are alive beyond death. By doing so, she opens up the possibility of transcendent presence and extends the reality to the unrealistic and invisible world, which makes it possible to discuss about her religious vision because the essence of religiosity is to break the narcissistic individuality, expand the reality confined in the physical world, and glimpse at the ultimate reality, love.
Abstract
Morrison's novels have been studied mostly in relation with gender, race, or postcolonial discourses. However, specially in later novels, Morrison comes to distrust any social revolution and rather rely on inner revolutions to overcome prejudices and injustice. Her recent novel, Love, more directly addresses the need of inner revolution which is made possible by recognizing ambiguities and duplicity hidden under the surface. In this sense, Morrison's religious dimension, which started to be added from Paradise, becomes more solidified in this last novel. Her frequent doubles incarnate the duplicity of all concepts and things, and at the end of conflicts and feuds, they arrive at reconciliation, by which Morrison cleaves and reveals her religious vision, that is, religion of love. This essay aims to prove that doubles as dramatic polarity amount to a deliberate device to dramatize her religious vision, and also to explore how Morrison defines love which is the most contaminated word now. Her concept of love goes beyond the sphere of ethics, but it is enhanced to the dimension of the ultimate reality, thus to the religious dimension. However, there is no direct encounter with a certain transcendent presence, but Morrison does not hesitate to present some transcendent characters who are alive beyond death. By doing so, she opens up the possibility of transcendent presence and extends the reality to the unrealistic and invisible world, which makes it possible to discuss about her religious vision because the essence of religiosity is to break the narcissistic individuality, expand the reality confined in the physical world, and glimpse at the ultimate reality, love.
참고문헌 (20)
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