들뢰즈의 전쟁기계로 읽는 아이리쉬 모더니즘
A Reading of Irish modernism as a Deleuzean War Machine.
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A definition of Irish modernism, confused by different perspectives on its era and ideology, can be re-illuminated by the concept of the war machine suggested by Deleuze and Guattari. In pursuit of the exteriority to the state apparatus, the deterritorial movement in the war machine resonates with that of Irish modernists, who take various lines of flight from Irish state ideology. The significance of Irish modernism as a war machine can be discussed in three ways. Theoretically examining Fredric Jameson’s Marxist discourse that analyzes Irish modernism in terms of the mode of production, I will demonstrate counter-examples found in James Joyce’s Ulysses replete with unknowability, and suggest a Deleuzean concept of the regime of signs as an alternative to Jameson’s. In comparison to the Revivalists driven by a work ethic for the establishment of the nation-state, Irish modernists, such as Joyce, Samuel Beckett, and Sean O’Casey, express resistant voices throughout their works aspiring to the exteriority to state power. As an appropriated war machine by the state, Patrick Kavanagh can also be considered a minoritarian modernist, a whistle-blower, in that he demystifies the state-founding ideology, which heedlessly romanticizes the rural Ireland.
Abstract
A definition of Irish modernism, confused by different perspectives on its era and ideology, can be re-illuminated by the concept of the war machine suggested by Deleuze and Guattari. In pursuit of the exteriority to the state apparatus, the deterritorial movement in the war machine resonates with that of Irish modernists, who take various lines of flight from Irish state ideology. The significance of Irish modernism as a war machine can be discussed in three ways. Theoretically examining Fredric Jameson’s Marxist discourse that analyzes Irish modernism in terms of the mode of production, I will demonstrate counter-examples found in James Joyce’s Ulysses replete with unknowability, and suggest a Deleuzean concept of the regime of signs as an alternative to Jameson’s. In comparison to the Revivalists driven by a work ethic for the establishment of the nation-state, Irish modernists, such as Joyce, Samuel Beckett, and Sean O’Casey, express resistant voices throughout their works aspiring to the exteriority to state power. As an appropriated war machine by the state, Patrick Kavanagh can also be considered a minoritarian modernist, a whistle-blower, in that he demystifies the state-founding ideology, which heedlessly romanticizes the rural Ireland.
참고문헌 (22)
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