＂사실 그들이 같은 언어를 말하지 않는다＂--『열쇠말』혹은 레이먼드 윌리엄즈의 모더니티 인식
“The Fact is, They Just Don't Speak the Same Language”: Keywords, or Raymond Williams on Modernity
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Abstract
Raymond Williams the marginal man employs an idiosyncratic approach in most of his writings by beginning with the discussion of what he calls a ‘keyword,’ which culminates, among other works, in Keywords the marginal book. His keywords have in common some features: in the course of modernity, they have commonly undergone a wide-ranging change of meanings along with their changing objects of reference and, interestingly enough, they can mainly be characterised with the change from the words of negative implication to those of positive sense. Modernity has witnessed the keyword developing from its primary sense a variety of new meanings now expanding and now disappearing. Keywords, in a sense, are faithful at once to the urge of modernity for various kinds of compartmentalisation or specialisation and to the reduction of various values as their ironic consequences. Or rather they are linguistic reponses towards deepening modernity. Noticing the changes of language bear witness to ever-changing modernity, Williams elaborates on his observation into a kind of historical semantics in which he basically takes up a diachronic approach to historical changes of words but consistently centres on the synchronic signification of their advanced meanings at the present. It means that his approach is organicist rather than historicist, in which language is not a mere means but rather an organism alive here and now. For this reason, keywords which Williams intends as the key to cultural and social reality under modernity can also serve as that to his sense of modernity. It is that he unintentionally valorises the triumphant present by addressing words out of which modernity has formed positive meanings at the present stage of their changes. In other words, Williams is not free from a dynamic of modernity which actualises itself in glorifying the very new through repeated self-negation, when he prioritises the present meaning, if a contingent one, of any given keyword over its past ones. As with Keywords, moreover, it would be possible to re-read Williams’s oeuvre as a discourse of modernity.
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