헤밍웨이의 ‘세 단편’에서 모호한 서사와 그 문화적 함의
Narrative Ambiguity and Its Cultural Implication in Hemingway’s ‘Three Stories’
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“Up in Michigan,” “My Old Man” and “Out of Season” are three short stories included in Three Stories and Ten Poems that Ernest Hemingway originally published in 1923. Even if the three stories have been neglected by Hemingway critics, as Susan Beegel notices, each of the stories strengthens its thematic complexity by employing ambiguous narrative. Its narrative ambiguity respectively contests the value of romantic or platonic love in “Up in Michigan,” justice in “My Old Man,” and universal truth in “Out of Season.” Creating unreliable character-narrators, juxtaposing two opposing-characters, or allowing the narrator’s agnoticism, the author seemingly invites the reader’s non-fundamentalist view of love, justice and truth. However, his narrative never quits the modernist nostalgia for those universal values that the west believes transcends cultural particularity. Viewed in the perspective of the Foucauldian truth-power relation, the author does not accept his logical/cultural fallacy enough because he is never aware of subjectivity involving the birth of truth or value when reexamining those universal values in his three stories. He also remains a high modernist writer even in these early stories.
Abstract
“Up in Michigan,” “My Old Man” and “Out of Season” are three short stories included in Three Stories and Ten Poems that Ernest Hemingway originally published in 1923. Even if the three stories have been neglected by Hemingway critics, as Susan Beegel notices, each of the stories strengthens its thematic complexity by employing ambiguous narrative. Its narrative ambiguity respectively contests the value of romantic or platonic love in “Up in Michigan,” justice in “My Old Man,” and universal truth in “Out of Season.” Creating unreliable character-narrators, juxtaposing two opposing-characters, or allowing the narrator’s agnoticism, the author seemingly invites the reader’s non-fundamentalist view of love, justice and truth. However, his narrative never quits the modernist nostalgia for those universal values that the west believes transcends cultural particularity. Viewed in the perspective of the Foucauldian truth-power relation, the author does not accept his logical/cultural fallacy enough because he is never aware of subjectivity involving the birth of truth or value when reexamining those universal values in his three stories. He also remains a high modernist writer even in these early stories.
참고문헌 (25)
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