진 리스의 『안녕, 자정이여』에 나타난 전복적 괴물성
The Subversive Monstrosity in Jean Rhys's Good Morning, Midnight
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Abstract
Sung-Joo HongSasha Jansen, Jean Rhys's heroine in Good Morning, Midnight (1939), is a middle-aged, rootless, alienated woman expelled from a male-dominated society. In this patriarchal social structure she is triply negated and displaced for the reasons of gender, age, and economic conditions. Her first-person narrative is a record of her searching for a refuge, a safe private space to hide herself, in Paris, a modern cosmopolitan city epitomizing the public sphere. Her "film-mind" registers the city's hostile gaze and inanimate objects' threatening jeers which force herself to be estranged even from herself. An alien subject inhabiting hostile foreign space, Sasha often identifies herself with a mask, a ghost or a zombie. Her sanity, in which she tries to construct her whole and unified identity, gradually turns into insanity, in which her consciousness is split and fragmented and her identity multiplied. At the end of the novel, the heroine's surreal reverie in schizophrenic madness completes her self-destructive journey to the "impasse" and transforms herself into a dangerous monster, overthrowing the inhuman, mechanized male order of society. Her fractured narrative deconstructs the illusion of a stable, secure subject characterized in the male bildungsroman.
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