언어의 ‘부정한’ 성사—가즈오 이시구로의 『부유하는 세상의 예술가』에서 1인칭 서술
An ‘Unfaithful’ Sacrament of Language: The First-person Narration in Kazuo Ishiguro’s An Artist of the Floating World
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An Artist of the floating World, Kazuo Ishiguro's second novel, has a narrative which is told by a retired artist, Masuji Ono, set in three years after the Second World War in Japan. Ono's first-person narration, however, is very problematic in terms that his storytelling is unauthentic or unreliable, consisting of intentional emphases, repetition, omission, and avoidance of his specific memories to present his ideal self. This paper aims at analyzing the first-person narration of An Artist of the Floating World on the assumption that his narration is a kind of Agambenian ‘oath.’ According to Giorgio Agamben, an ‘oath’ is a performative, or speech act, to fill up the gap between words and things to actualize its meaning using the semantic power of language, which he designates as ‘the sacrament of language.’ Ono is doing same things when he repeatedly tells his past as an achievement of the best of faith, instead of confessing and atoning his guilt of a militaristic propagandist during the war. So, his storytelling is marked as an ‘unfaithful’ sacrament of language in terms that it reveals, according to Agamben’s words, “a disjunction or, at least, a loosening of the bond that united the living thing to its language,” which Agamben regards as a negative phenomenon in our times. In An Artist of the Floating World, Ishiguro presents through Ono’s deceptive narration how his storytelling is meaningless and, therefore, alienated from the language itself as well as the truth.
Abstract
An Artist of the floating World, Kazuo Ishiguro's second novel, has a narrative which is told by a retired artist, Masuji Ono, set in three years after the Second World War in Japan. Ono's first-person narration, however, is very problematic in terms that his storytelling is unauthentic or unreliable, consisting of intentional emphases, repetition, omission, and avoidance of his specific memories to present his ideal self. This paper aims at analyzing the first-person narration of An Artist of the Floating World on the assumption that his narration is a kind of Agambenian ‘oath.’ According to Giorgio Agamben, an ‘oath’ is a performative, or speech act, to fill up the gap between words and things to actualize its meaning using the semantic power of language, which he designates as ‘the sacrament of language.’ Ono is doing same things when he repeatedly tells his past as an achievement of the best of faith, instead of confessing and atoning his guilt of a militaristic propagandist during the war. So, his storytelling is marked as an ‘unfaithful’ sacrament of language in terms that it reveals, according to Agamben’s words, “a disjunction or, at least, a loosening of the bond that united the living thing to its language,” which Agamben regards as a negative phenomenon in our times. In An Artist of the Floating World, Ishiguro presents through Ono’s deceptive narration how his storytelling is meaningless and, therefore, alienated from the language itself as well as the truth.
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