‘낭만적 거짓’, 예술, 그리고 상업주의: 포크너의 야생 종려나무/예루살렘, 내 너를 잊는다면
"Romantic Deceit," Art, and Commercialism: A Study of William Faulkner's The Wild Palms/If I forget thee, Jerusalem
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The Wild Palms, written as Faulkner was working as an established screenwriter in Hollywood, contains Faulkner's poignant awareness of the commercialization of art and popular culture within a capitalist society. The main characters, Charlotte and the Tall Convict depicted in two contrapuntal stories, find their ideal role models in cheap romances and dime-store Westerns like Emma Bovary. In order to understand their desire mechanism, “romantic deceit(mensonge romantique in french),” the theory of René Girard, can be helpful; as much as the desires of the individual person seem autonomous, they are always suggested by a mediator or a mediated object. Charlotte and Harry who sacrificed everything for love managed to both earn a living and keep their love by sculpting the popular figures and writing pulp fiction. Their 'pure' love is not only mediated by cheap romances, but also supported by the money earned from popular art and pulp. Therefore, there is no clear cut line between pure love(art) and popular commercialism, or high and low culture. This study also explores the metaphor of a prison as a captor of human life. The original title If I Forget Thee, Jerusalem comes from the Psalm; it is an admonition to remember freedom and the past even in the state of Babylonian captivity. The relation between captivity and freedom, one of the principal themes of this novel, is seen in the multiple meanings of the prison metaphor; from a prison named society to the one called money without which, even the purest love can not be sustained in a capitalist society. This novel is a sort of a turning point for the modernist Faulkner; from his Hollywood experience, he recognized the resistless flood of commercial popular culture and had a premonition of the postmodernism era in which the limit of pure art and popular culture would blur.
Abstract
The Wild Palms, written as Faulkner was working as an established screenwriter in Hollywood, contains Faulkner's poignant awareness of the commercialization of art and popular culture within a capitalist society. The main characters, Charlotte and the Tall Convict depicted in two contrapuntal stories, find their ideal role models in cheap romances and dime-store Westerns like Emma Bovary. In order to understand their desire mechanism, “romantic deceit(mensonge romantique in french),” the theory of René Girard, can be helpful; as much as the desires of the individual person seem autonomous, they are always suggested by a mediator or a mediated object. Charlotte and Harry who sacrificed everything for love managed to both earn a living and keep their love by sculpting the popular figures and writing pulp fiction. Their 'pure' love is not only mediated by cheap romances, but also supported by the money earned from popular art and pulp. Therefore, there is no clear cut line between pure love(art) and popular commercialism, or high and low culture. This study also explores the metaphor of a prison as a captor of human life. The original title If I Forget Thee, Jerusalem comes from the Psalm; it is an admonition to remember freedom and the past even in the state of Babylonian captivity. The relation between captivity and freedom, one of the principal themes of this novel, is seen in the multiple meanings of the prison metaphor; from a prison named society to the one called money without which, even the purest love can not be sustained in a capitalist society. This novel is a sort of a turning point for the modernist Faulkner; from his Hollywood experience, he recognized the resistless flood of commercial popular culture and had a premonition of the postmodernism era in which the limit of pure art and popular culture would blur.
참고문헌 (21)
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