* Paul Wake - Conrad's Marlow (Narrative and death in 'Youth', Heart of Darkness, Lord Jim and Chance). Manchester UP. 2007
- Preface
(xiii) Marlow - narrator and character
(ix) Paul Ricoeur - hermeneutics
- any interpretive endeavour must start with certain presuppositions
(x) 빅토리아 시기의 리얼리즘과 모더니즘의 실험
콘래드 작품이 이 중간에 있는데, 차이점보다는 공통점에 더욱 주목할 것.
(xi) 1898년의 자살 시도는 처음 듣는 이야기이다. 이 부분 조사해 볼 것. [1878년의 오식]
(xii) first narrator의 문제 (the first narrator's reprodudtion of Marlow's storytelling)
- Introdution: Marlow, realism, hermeneutics
(1) All for stories, whose texts are supposedly faithful reproductions of his[Marlow's] words, are transcribed by an unnamed and largely unobtrusive narrator, or narrators, of whom we learn little beyond the fact that he has, like Marlow, some connection to the sea and, we are invited to believe, quite remarkable powers of recall.
(2) 블랙우드가 갖는 중요성. Youth를 쓰면서 Blackwood 독자층을 염두에 둠.
(3) English is still for me a foreign language (1907 편지)
- 말로가 영국인 신사로 등장하지만, 말로에게는 콘래드처럼 외국인임이 많이 엿보인다(foreigness). (이것은 콘래드의 외국인성을 내가 잘못 읽은 듯) [내가 찾은 것으로서는 '영국인들'의 책임감을 지적하는 부분. 이것은 Youth에 나오는 것]
- This increased consciousness of the presence of his audience, exacerbated by Conrad's apparent desire to write himself into the English literary tradition, had a significant effect on teh structuring of the Marlow texts.
- John Lyon : 모더니즘의 선구적인 작품(HD). a convoluted form and self-conscious style. 'an unreadable report'
경험의 의사소통의 어려움. (벤야민 - storyteller)
(4) F. Jameson : 모더니즘의 emergence.
- 정체성. 경험의 주관적 성격.
- G. Eliot과 V. Woolf : 리얼리즘과 모더니즘적 태도. Modern Fiction
(5) 빅토리아 시기의 세계 질서가 무너지는 가운데 작품 활동을 시작했다는 것.
(6) make you see. impressionism. [나르시서스의 서문]
- J. Hillis Miller (nihilism) 의사소통의 어려움. 불가능성은 아니더라도.
(the nihilism covertly dominant in modern culture is brought to the surface and shown for what it is.)
(7) the connection between language and truth
- Allon White : 화자 자신도 해석과 관련이 되어 있음.
[이전의 소설이 이야기의 전달이 더 큰 부분이었다면, 이제는 이야기의 전달보다도 이야기의 의미에 대한 이해, 해석이 더 주가 되었다는 정도로 이해하면 될까?]
- Narratives become the site of a dialogue between discourse and interpretation:
'whereever a man dreams or raves, another man arises to give interpretation; what was already discourse, even if it was incoherent, is brought into coherent discourse by hermeneutics.'(P. Ricoeur The symbolism of Evil)
(8) 리쾨르 - 아리스토텔레스 muthos (plotting, narrative) the organization of the events [that] first emphasizing concordance.
(9) 리쾨르 - emplotment : an eminently verbal experience where concordance mends discordance
(10) 리쾨르 - life needs to be understood through literature . . . becaues "life in the raw" is beyond our reach.
(11) 말로의 성격 : Liminality or marginality is his very essence
- the relation between exposition and interpretation (story and narration)
1. Marlow: 'Youth' and the oral tradition
- Marlow: character or narrator
(16) Conrad and Marlow에 대한 관심사는 사건의 공통점이 아니라 이야기꾼으로서 공유되는 위치(their shared position as storytellers)
(17) Marlow texts dramatise concerns about the writing process itself.
(17-18) 말로를 접근하는 방법에 있어서 말로를 character로 볼 것인가, 아니면 narrator로 볼 것인가의 문제에 있어서 서로 차이가 나는 부분.
(19) Wayne Booth: Again in a seamless web, and we tell ourselves that the old-fashioned question 'Who is the protagonist?' is a meaningless one. (부스는 말로의 이중적 역할, 이야기꾼이면서 동시에 이야기의 인물(subject)인 사정을 잘 보여줌.) (346)
(the merging of narrator and character is seamless)
Is "Heart of Darkness" the story of Kurtz or the story of Marlow's experience of Kurtz? Was Marlow invented as a rhetorical device for heightening the meaning of Kurtz's moral collapse, or was Kurtz invented in order to provide Marlow with the core of his experience of the Congo? Again a seamless web, and we tell ourselves that the old-fashioned question, "Who is the protagonist?" is a meaningless one. The convincing texture of the whole, the impression of life as experienced by an observer, is in itself surely what the true artist seeks.
- Marlow and narrative structure
(20) Gerard Genette
1. narrative : the narrative statement, the oral or written discourse that undertakes to tell of an event
2. story : the succession of events
3. narrating: an event: not the event that is recounted, but the event that consists of someone recounting something
- 뒤엉키고 복잡한 서사 담론 ; to view narrative as comprised of different 'levels'
- any event a narrative recounts is at a diegetic level immediately higher than the level at which the narrating act producing this narrative is placed.
(Diegesis - the narrative content that Genette terms story)
(21) Mr. Conrad's unmistakable method of telling a story. . . he hides behind one man at first and then puts a second in front of the first, and perhaps a third in front of the second [Chance review. Sherry Critical Heritage. 247]
- 1. Marlow can be seen to be narrating a story(character) 2. the narrating act is performed by the unnamed narrator.
(22) homodiegetic - 서술자가 관찰자/ autodiegetic - 서술자가 주인공. extradiegetic - 서술자가 이야기 밖에 있음.
- Marlow and Benjamin's storyteller
(25) Storyteller 요약
(26) John Lyon: [청춘]에서 세부 사항은 윤색. [암흑]에서 세부 사항은 의미를 향한 투구.
(28) for Benjamin, the key to storytelling is to be found in the transmission of stories from one narrator to another and the repetition of this process. 'Storytelling is always the art of repeating stories.'
- pseudo-iterative.
(29)벤야민: the perfect narrative is revealed through the layers of various retellings
(30) focalizer: young Marlow narrator : Old Marlow
- Marlow creates his younger self as a character, this Marlow no longer exists: in effect the translation of this self into character is what allows the older Marlow the authority to conclude his tale.
(32) 벤야민: it is the authority of death that distinguishes the storyteller from the novelist, allowing him to share wisdom rather than impairing information.
[읽어야 할 글들]
1. Harold Bloom, ed. Marlow (1992) 구입 필요
2. Benjamin - The Storyteller [문예 비평과 이론]/ Selected Writings
3. P. Ricoeur The symbolism of Evil 악의 상징
4. Heidegger. on the Way to Language
5. Gerard Genette. Narrative Discourse / 서사담론, 교보
6. Wayne Booth. The Rhetoric of the Novel
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