심리적으로 소멸된 시간: 퀜틴의 분열서사와 그의 죽음
Psychologically Dissipated Time: Quentin's Disruptive Narrative and His Death
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This paper, paying attention to Quentin’s narrative of the second chapter of William Faulkner’s The Sound and the Fury, observes dissipated time that reveals several de-constructive aspects and eventually calls for Quentin's suicide. This outstanding Modernist novel adopts its typical narrative technique of ‘stream of consciousness’, but it depicts considerably de-constructive facets in which time and gender identity of Quentin were disrupted. Quentin’s psychological complication to efface time leads to his death as a kind of compromise with his emotional deadlock. Quentin, who has cherished the pre-modern idealism of the South and been obsessed with memories of his sister Caddy, does not harmoniously cope with modernistic changes and only tries to adhere to the antebellum morals. Quentin’s wavering self-consciousness potentially caused from his subconsciously incestuous desire for Caddy dissolves time and space already mutually inter-fused, not clearly defining the boundary between the real and the fictitious as well as the past and the present. Quentin's fragmented consciousness and confused gender identity, along with the collapsed traditional values, results in his death relocating himself in the moment/spot without time. Death, one of the epistemological themes of Modernism, functions here as an escape for Quentin from his struggles over time and silences his anachronistic perception of time and space.
Abstract
This paper, paying attention to Quentin’s narrative of the second chapter of William Faulkner’s The Sound and the Fury, observes dissipated time that reveals several de-constructive aspects and eventually calls for Quentin's suicide. This outstanding Modernist novel adopts its typical narrative technique of ‘stream of consciousness’, but it depicts considerably de-constructive facets in which time and gender identity of Quentin were disrupted. Quentin’s psychological complication to efface time leads to his death as a kind of compromise with his emotional deadlock. Quentin, who has cherished the pre-modern idealism of the South and been obsessed with memories of his sister Caddy, does not harmoniously cope with modernistic changes and only tries to adhere to the antebellum morals. Quentin’s wavering self-consciousness potentially caused from his subconsciously incestuous desire for Caddy dissolves time and space already mutually inter-fused, not clearly defining the boundary between the real and the fictitious as well as the past and the present. Quentin's fragmented consciousness and confused gender identity, along with the collapsed traditional values, results in his death relocating himself in the moment/spot without time. Death, one of the epistemological themes of Modernism, functions here as an escape for Quentin from his struggles over time and silences his anachronistic perception of time and space.
참고문헌 (23)
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