흑인영국성장소설의 내러티브와 범세계주의적 디아스포라: 『 디 인텐디드 』에 나타난 시간, 공간, 기억의 파편들
Cosmopolitan Diaspora and Black British Bildungsroman: Fragments of Time, Space, and Memory in The Intended
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David Dabydeen's 1991 novel The Intended is a Bildungsroman in which a Guyanese-born black British boy's adolescent years unfold in a gloomy part of the metropolitan city of London. Although this story does follow the general rules of a coming-of-age story narrative which focuses on the psychological and moral growth of the protagonist from youth to adulthood within the given time-spacial circumstances, Dabydeen's story suggests a new kind of Bildungsroman narrative by violating typical time sequence and spatial order. First, the novel progresses towards the future yet simultaneously regresses to the past as the narrative ebbs and flows regardless of the current events. Moreover, though not easily detected during the initial reading, the narrative presents a deft technique of mixing two different tenses when the novel reaches its climax of the character's change. The mixing of the tenses blurs the definite boundary of the time past, present and future, as if it imitates the broken or limited English of the colonized. The second factor that distinguishes the novel from the traditional Bildungsroman narrative is the filmographic employment of overlapping the spacial images of England and Guyana through the juxtaposition of the geography of London and/vs Albion Village, and the winding roads of the empire and/vs the image of the old grandma's cracked feet. Then the overlapping spatial disorder expands to the literary space of Joseph Conrad's Heart of Darkness which provides an intriguing roles of an allegory and a paradox. In so doing The Intended represents a unique pattern of individual growth that differentiates itself from the white British or European value of Bildung.
Abstract
David Dabydeen's 1991 novel The Intended is a Bildungsroman in which a Guyanese-born black British boy's adolescent years unfold in a gloomy part of the metropolitan city of London. Although this story does follow the general rules of a coming-of-age story narrative which focuses on the psychological and moral growth of the protagonist from youth to adulthood within the given time-spacial circumstances, Dabydeen's story suggests a new kind of Bildungsroman narrative by violating typical time sequence and spatial order. First, the novel progresses towards the future yet simultaneously regresses to the past as the narrative ebbs and flows regardless of the current events. Moreover, though not easily detected during the initial reading, the narrative presents a deft technique of mixing two different tenses when the novel reaches its climax of the character's change. The mixing of the tenses blurs the definite boundary of the time past, present and future, as if it imitates the broken or limited English of the colonized. The second factor that distinguishes the novel from the traditional Bildungsroman narrative is the filmographic employment of overlapping the spacial images of England and Guyana through the juxtaposition of the geography of London and/vs Albion Village, and the winding roads of the empire and/vs the image of the old grandma's cracked feet. Then the overlapping spatial disorder expands to the literary space of Joseph Conrad's Heart of Darkness which provides an intriguing roles of an allegory and a paradox. In so doing The Intended represents a unique pattern of individual growth that differentiates itself from the white British or European value of Bildung.
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