아프리카와 영국 사이에서의 레싱의 이산: 『집으로』와 『아프리카의 웃음』
Lessing’s Diasporic Experience Between Africa and England: Going Home and The African Laughter
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This essay explores the complex voices of colonialism, anti-colonialism and post-colonialism of the narrative in Doris Lessing’s Going Home and The African Laughter. The narrator who is referred to as Doris is positioned as a privileged outsider because she affiliates herself to England and at the same time she has grown up in South Rhodesia (now Zimbabwe). This creates tension between Lessing’s narrator who gives voice to black Zimbabweans and the western female protagonist as the authoritative subject in describing her travelogue to her ‘home’ in 1956 and to Zimbabwe in 1982, 1988, 1991, and 1992. Contrary to conservative travel writing, the narrator deconstructs the consistency, stability and chronological order of the western traveller’s exploration of Africa by using various voices and para-textual materials. Refusing the commanding and controlling perspectives and focusing on the tough realities of colonial and post-colonial life, the narrator displays inequalities that prevail throughout African culture. But her main aim seems to visit her parents’ farm, from which she is separated due to her position as the Prohibited Immigrant. She attempts to travel to the home five times, even though she knows the farm does not exist anymore. This reveals her desire to feel the blessing and privilege of the Empire in the very place that the African society is declining. By portraying the corrupted black Africans and the home that falls into ruin by the African nationalism, her travelogue shows that the narrator reproduces the very colonial ideologies that she simultaneously criticizes. So, this essay purports that these colonial and post-colonial experiences cast Lessing a perpetual outsider and a marginal writer, which thereby could influence all of her works.
Abstract
This essay explores the complex voices of colonialism, anti-colonialism and post-colonialism of the narrative in Doris Lessing’s Going Home and The African Laughter. The narrator who is referred to as Doris is positioned as a privileged outsider because she affiliates herself to England and at the same time she has grown up in South Rhodesia (now Zimbabwe). This creates tension between Lessing’s narrator who gives voice to black Zimbabweans and the western female protagonist as the authoritative subject in describing her travelogue to her ‘home’ in 1956 and to Zimbabwe in 1982, 1988, 1991, and 1992. Contrary to conservative travel writing, the narrator deconstructs the consistency, stability and chronological order of the western traveller’s exploration of Africa by using various voices and para-textual materials. Refusing the commanding and controlling perspectives and focusing on the tough realities of colonial and post-colonial life, the narrator displays inequalities that prevail throughout African culture. But her main aim seems to visit her parents’ farm, from which she is separated due to her position as the Prohibited Immigrant. She attempts to travel to the home five times, even though she knows the farm does not exist anymore. This reveals her desire to feel the blessing and privilege of the Empire in the very place that the African society is declining. By portraying the corrupted black Africans and the home that falls into ruin by the African nationalism, her travelogue shows that the narrator reproduces the very colonial ideologies that she simultaneously criticizes. So, this essay purports that these colonial and post-colonial experiences cast Lessing a perpetual outsider and a marginal writer, which thereby could influence all of her works.
참고문헌 (21)
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