진 리스의 『어둠 속의 항해』: 대립적 서사와 정동의 언어
Juxtapositional Narrative and the Language of Affect in Jean Rhys’s Voyage in the Dark
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This paper tries to read Jean Rhys’s Voyage in the Dark, focusing on the juxtapositional narrative and its paradoxical deconstruction of binarism between success and failure, resistance and helplessness, active and passive, and so on. The novel maintains throughout the novel the juxtapositional narrative that deconstructs the hierarchy between Britain and the West Indies. Due to Anna’s incurable helplessness, however, this narrative deconstruction of the hierarchy seems hardly noticed. Unlike Wide Sargasso Sea considered as the most multifaceted and mature narrative among Rhys’s novels, the narrative of Voyage in the Dark maximizes the oppositions of time, region, gender, race, and class. Considering that the original title of the novel was “Two Tunes,” it is noteworthy to pay attention to the effects of the juxtapostional narrative. Rhys’s response unwilling to accept its hopeful ending revised by the editor’s demand also tells that this novel is not oriented toward either Anna’s resistance or her Bildung through hardships or a story of “starting all over again.” In this respect, the juxtapositional narrative concentrates on unveiling, along with revealing Anna’s dismally alienating reality, how violent and damaged are the inner world of the characters like Hester, Walter, and Vincent. To effectively convey these oppositions, the novel contrasts language of Hester and Walter/Vincent with Anna’s language of affect featuring her silence and understatement. Anna’s language of affect keeps calling into questions all kinds of binarisms and hierarchies presented in the novel.
Abstract
This paper tries to read Jean Rhys’s Voyage in the Dark, focusing on the juxtapositional narrative and its paradoxical deconstruction of binarism between success and failure, resistance and helplessness, active and passive, and so on. The novel maintains throughout the novel the juxtapositional narrative that deconstructs the hierarchy between Britain and the West Indies. Due to Anna’s incurable helplessness, however, this narrative deconstruction of the hierarchy seems hardly noticed. Unlike Wide Sargasso Sea considered as the most multifaceted and mature narrative among Rhys’s novels, the narrative of Voyage in the Dark maximizes the oppositions of time, region, gender, race, and class. Considering that the original title of the novel was “Two Tunes,” it is noteworthy to pay attention to the effects of the juxtapostional narrative. Rhys’s response unwilling to accept its hopeful ending revised by the editor’s demand also tells that this novel is not oriented toward either Anna’s resistance or her Bildung through hardships or a story of “starting all over again.” In this respect, the juxtapositional narrative concentrates on unveiling, along with revealing Anna’s dismally alienating reality, how violent and damaged are the inner world of the characters like Hester, Walter, and Vincent. To effectively convey these oppositions, the novel contrasts language of Hester and Walter/Vincent with Anna’s language of affect featuring her silence and understatement. Anna’s language of affect keeps calling into questions all kinds of binarisms and hierarchies presented in the novel.
참고문헌 (21)
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