초기 영소설과 그로테스크 리얼리즘: _조셉 앤드류즈_를 중심으로
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This paper examines in what way what Mikhail Bakhtin calls ‘grotesque realism’ constitutes a significant part of the realist aesthetics of the early English novel through a reading of Joseph Andrews. Bakhtin advances a term of ‘grotesque realism’ in Rabelais and His World as a way to explain an aesthetics that is based on ‘the culture of folk humor’ and also involves ‘the material bodily principle,’ ‘the carnivalesque,’ ‘ambivalent and regenerating laugh,’ or ‘the grotesque body.’ Bakhtin's concept of grotesque realism strongly suggests how grotesque aesthetics enacts an important feature in realist aesthetics, which has been narrowly understood as the inheritor of classical aesthetics in numerous discourses on realism. Among the early English novels in which grotesque realism plays a crucial role, Joseph Andrews is noteworthy partly because of its canonical status in the history of the English novel (rather than Gulliver's Travels or Tristram Shandy). In this essay, I examine, first, how Joseph Andrews began as a parody of Pamela, while parody works as a key word in grotesque realism, and how the famous preface of the text values and theorizes the comic or laughter, another key element in grotesque realism. Secondly, I analyze Parson Adams, a pivotal figure in Joseph Andrews, as a character strongly associated with Sancho who is an embodiment of grotesque realism in Don Quixote, while his Quixotic aspects are satirized. Thirdly, I go through how the narrator of Joseph Andrews undermines his own authority by way of, for example, comparing his book with an inn or “Resting-Place,” and then invites the reader into his banquet, rendering the text as a space of carnival and hence grotesque realism.
Abstract
This paper examines in what way what Mikhail Bakhtin calls ‘grotesque realism’ constitutes a significant part of the realist aesthetics of the early English novel through a reading of Joseph Andrews. Bakhtin advances a term of ‘grotesque realism’ in Rabelais and His World as a way to explain an aesthetics that is based on ‘the culture of folk humor’ and also involves ‘the material bodily principle,’ ‘the carnivalesque,’ ‘ambivalent and regenerating laugh,’ or ‘the grotesque body.’ Bakhtin's concept of grotesque realism strongly suggests how grotesque aesthetics enacts an important feature in realist aesthetics, which has been narrowly understood as the inheritor of classical aesthetics in numerous discourses on realism. Among the early English novels in which grotesque realism plays a crucial role, Joseph Andrews is noteworthy partly because of its canonical status in the history of the English novel (rather than Gulliver's Travels or Tristram Shandy). In this essay, I examine, first, how Joseph Andrews began as a parody of Pamela, while parody works as a key word in grotesque realism, and how the famous preface of the text values and theorizes the comic or laughter, another key element in grotesque realism. Secondly, I analyze Parson Adams, a pivotal figure in Joseph Andrews, as a character strongly associated with Sancho who is an embodiment of grotesque realism in Don Quixote, while his Quixotic aspects are satirized. Thirdly, I go through how the narrator of Joseph Andrews undermines his own authority by way of, for example, comparing his book with an inn or “Resting-Place,” and then invites the reader into his banquet, rendering the text as a space of carnival and hence grotesque realism.
참고문헌 (21)
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