테헤란에서 「개츠비」 읽기: 파레시아와 아이도스의 경합 장으로서 「개츠비」를 중심으로
Reading “Gatsby” in Tehran: “Gatsby” As an Agonistic Sphere of Parrhesia and Aidos
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This paper examines “Part II: Gatsby” of Reading Lolita in Tehran (hereafter as Gatsby) with the Foucauldian concept of “critique,” meaning “a mode of resistance against the processes of subjection.” In Gatsby, Nafisi criticizes the political ideology of Iran’s Islamic revolution through the window of The Great Gatsby. This essay looks at the Iranian and American political ideologies in the context of the Greek terms ‘aidos’ and ‘parrhesia.’ Aidos, the Greek word denoting respect for others and public opinion preserves and honors established procedures. This ideology can be seen in the Islamic context of Nafisi’s Iran, where the past is alive, and the individual is reduced to a ‘one-dimensional man.’ The counterpart of aidos is parrhesia, meaning ‘fearless of speaking the truth.’ In parrhesia-inclined societies like Gatsby’s America, individuals are great advocates of free speech. This paper analyzes Gatsby as the agonistic sphere of parrhesia and aidos. The two ideologies, however, are in truth always supplementary because parrhesia is only possible to the extent that one can make choices within the limited options permitted by social relationships (aidos). Although Islamic ideology excludes Western individualism by giving primacy to tradition, Islamic religious factors are all individual matters (parrhesia). In conclusion, parrhesia and aidos are entwined with and supplementary to each other.
Abstract
This paper examines “Part II: Gatsby” of Reading Lolita in Tehran (hereafter as Gatsby) with the Foucauldian concept of “critique,” meaning “a mode of resistance against the processes of subjection.” In Gatsby, Nafisi criticizes the political ideology of Iran’s Islamic revolution through the window of The Great Gatsby. This essay looks at the Iranian and American political ideologies in the context of the Greek terms ‘aidos’ and ‘parrhesia.’ Aidos, the Greek word denoting respect for others and public opinion preserves and honors established procedures. This ideology can be seen in the Islamic context of Nafisi’s Iran, where the past is alive, and the individual is reduced to a ‘one-dimensional man.’ The counterpart of aidos is parrhesia, meaning ‘fearless of speaking the truth.’ In parrhesia-inclined societies like Gatsby’s America, individuals are great advocates of free speech. This paper analyzes Gatsby as the agonistic sphere of parrhesia and aidos. The two ideologies, however, are in truth always supplementary because parrhesia is only possible to the extent that one can make choices within the limited options permitted by social relationships (aidos). Although Islamic ideology excludes Western individualism by giving primacy to tradition, Islamic religious factors are all individual matters (parrhesia). In conclusion, parrhesia and aidos are entwined with and supplementary to each other.
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