“제스 그루는 삶이다”: 『멈보 점보』에 나타나는 분열적 혁명
“Jes Grew is Life”: The Schizophrenic Revolution in Ishmael Reed’s Mumbo Jumbo
0
조회
0
다운로드
0
인용
0
참고문헌
키워드
초록
What is Jes Grew? To understand the concept of Jes Grew, this paper adapts Deleuze and Guattari’s concept of the schizophrenic. Jes Grew is the schizophrenic flow itself, a massive desiring machine that respects the flow itself and the changes it may bring. The characters who embrace the spirit of Jes Grew, in other words, the Jes Grew carriers learns that time and all that lives in it comes and goes like a pendulum. The process of becoming and the energy that is generated while the pendulum moves are considered the most important aspects reiterated in Reed’s works. And likewise, liberating beings from a certain definition, thereby allowing them to ‘become’ desiring machines, is the goal of Deleuze and Guattari’s schizophrenic analysis. In this sense, Jes Grew is the closest thing to what Deleuze and Guattari call the schizorevolutionary art that “embraces all that flows and counter flows” (370). Therefore, although Papa Labas fails to restore the Jes Grew Text, the Jes Grew carriers will be able to rebel against the despotic socius despite its lack of the Text, for Jes Grew is not a simple name labeled to a certain form of art, but life itself.
Abstract
What is Jes Grew? To understand the concept of Jes Grew, this paper adapts Deleuze and Guattari’s concept of the schizophrenic. Jes Grew is the schizophrenic flow itself, a massive desiring machine that respects the flow itself and the changes it may bring. The characters who embrace the spirit of Jes Grew, in other words, the Jes Grew carriers learns that time and all that lives in it comes and goes like a pendulum. The process of becoming and the energy that is generated while the pendulum moves are considered the most important aspects reiterated in Reed’s works. And likewise, liberating beings from a certain definition, thereby allowing them to ‘become’ desiring machines, is the goal of Deleuze and Guattari’s schizophrenic analysis. In this sense, Jes Grew is the closest thing to what Deleuze and Guattari call the schizorevolutionary art that “embraces all that flows and counter flows” (370). Therefore, although Papa Labas fails to restore the Jes Grew Text, the Jes Grew carriers will be able to rebel against the despotic socius despite its lack of the Text, for Jes Grew is not a simple name labeled to a certain form of art, but life itself.
참고문헌 (13)
- Deleuze, Gilles, "Anti-Oedipus: Capitalism and Schizophrenia" (2008), U of Minnesota P
- Harde, Roxanne, "‘We will make our future Text’: Allegory, Iconoclasm, and Reverence in Ishmael Reed’s Mumbo Jumbo", Critique, 43(4), pp.361~377 (2002)
- Henry, Joseph, "A MELUS Interview: Ishmael Reed", MELUS, 11(1), pp.81~93 (1984)
- Hogue, W. Lawrence, "Postmodernism, Traditional Culture Forms, and the African American Narrative: Major’s Reflex, Morrison’s Jazz, and Reed’s Mumbo Jumbo", NOVEL, 35(2), pp.169~192 (2002)
- Holland, Eugene W, "Deleuze and Guattari’s Anti Oedipus: Introduction to Schizoanalysis" (1999), Routledge
- Jessee, Sharon, "Ishmael Reed’s Multi-Culture: The Production of Cultural Perspective", MELUS, 13(3), pp.5~14 (1986)
- Jessee, Sharon, "Laughter and Identity in Ishmael Reed’s Mumbo Jumbo", MELUS, 21(4), pp.127~139 (1996)
- Kim, Junyon, "The Aesthetic Oscilliation between Neo-Hoodooism and Multiculturalism in Ishmael Reed’s Mumbo Jumbo", Modern Fiction in English, 12(1), pp.195~226 (2005)
- Lock, Henry, "‘A Man’s Story is His Gris-Gris’: Ishmael Reed’s Neo-HooDoo Aesthetic and the African-American Tradition", South Cultural Review, 10(1), pp.67~77 (1993)
- Mason Jr. Theodore O, "Performance, History, and Myth: The Problem of Ishamel Reed’s Mumbo Jumbo", Modern Fiction Studies, 34(1), pp.96~109 (1988)
- Omry, Karen, "Literary Free Jazz? Mumbo Jumbo and Paradise: Language and Meaning", African American Review, 41(1), pp.127~141 (2007)
- Reed, Ishmael, "Mumbo Jumbo" (1996), Scribner
- Swope, Richard, "Crossing Western Space, or the Hoo Doo Detective on the Boundary in Ishmael Reed’s Mumbo Jumbo", African American Review, 36(4), pp.611~628 (2002)