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논문 기본 정보
- 자료유형
- 학술저널
- 저자정보
- 발행연도
- 2004.8
- 수록면
- 27 - 54 (28page)
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One of the ‘modern’ characteristics of modern literature is its persistent attempt to define the identity and function of literature in modern society. This self-consciousness of modern literature, which can be traced back to Romanticism, arises from the problematic relationship between literature and society. The literary transition from early Romanticism, to late Romanticism, and to Modernism demonstrates that the possibility of literature as a social power became more and more slim. And the Postmodern scepticism about literature as a vehicle for truth reflects the final failure of the self-assigned mission of modern literature to redeem the society through the imaginative totality of meaning. The crisis of literature and the death of the author, often mentioned since the late twentieth century marks the fact that literature has lost its social function.
This study examines Melville's literary career from Typee (1846) to The Confidence-Man(1857) in the context of the debate about the place of literature in modern society. During the ten years or so of Melville's active authorship, he was involved in almost every possible form of the relationship that could exist between literature and modern society and the author and the reader. Melville's works prefigure the changes of this relationship in the history of modern literature from Romanticism to Postmodernism. But they go on to exemplify various attempts to break through the Postmodern impasse, the dead-end wall the author confronts as he struggles to take a proper place within the modern society. which, I think, is Melville's real achievement.
Melville's career makes clear the condition under which an author can achieve a meaningful creation. Melville's later novels show his growing realization that the attempt to unify a host of clashing and contradictory fragments into the totality of meaning cannot be successful only through the effort of a lonely writer without the readers' willing and active cooperation. The recurrent failures of the author figures like Pierre, Bartleby and the confidence-man indicate Melville's reluctant admission that the nineteenth-century American readers are neither able nor willing to participate in the joint creation of new meaning with him. As he wrote “[I]n Shakespeare's tomb lies infinitely more that Shakespeare ever wrote. [A]nd if I magnify Shakespeare, it is not so much for what he did do, as for what he did not do, or refrained from doing” (“Hawthorne and His Mosses”), Melville might hope that the future readers would be able to recognize in his works “that undeveloped, (and sometimes undevelopable) yet dimly-discernible greatness” and develop it. His undeveloped seed of creation can bear fruit when we agree to assume the active role as a member of the collective producer of the common ground of meaning. He reaches out to us today and urges that we cease to be the lethargic readers who are only the passive consumer of the established values and become coauthors of the new totalizing vision along with him.
This study examines Melville's literary career from Typee (1846) to The Confidence-Man(1857) in the context of the debate about the place of literature in modern society. During the ten years or so of Melville's active authorship, he was involved in almost every possible form of the relationship that could exist between literature and modern society and the author and the reader. Melville's works prefigure the changes of this relationship in the history of modern literature from Romanticism to Postmodernism. But they go on to exemplify various attempts to break through the Postmodern impasse, the dead-end wall the author confronts as he struggles to take a proper place within the modern society. which, I think, is Melville's real achievement.
Melville's career makes clear the condition under which an author can achieve a meaningful creation. Melville's later novels show his growing realization that the attempt to unify a host of clashing and contradictory fragments into the totality of meaning cannot be successful only through the effort of a lonely writer without the readers' willing and active cooperation. The recurrent failures of the author figures like Pierre, Bartleby and the confidence-man indicate Melville's reluctant admission that the nineteenth-century American readers are neither able nor willing to participate in the joint creation of new meaning with him. As he wrote “[I]n Shakespeare's tomb lies infinitely more that Shakespeare ever wrote. [A]nd if I magnify Shakespeare, it is not so much for what he did do, as for what he did not do, or refrained from doing” (“Hawthorne and His Mosses”), Melville might hope that the future readers would be able to recognize in his works “that undeveloped, (and sometimes undevelopable) yet dimly-discernible greatness” and develop it. His undeveloped seed of creation can bear fruit when we agree to assume the active role as a member of the collective producer of the common ground of meaning. He reaches out to us today and urges that we cease to be the lethargic readers who are only the passive consumer of the established values and become coauthors of the new totalizing vision along with him.
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참고문헌 (35)
참고문헌 신청
[학술지(정기간행물)] - 김상환 / 1993 / 모더니즘의 책과 저자－데카르트에서 데리다까지 / 세계의 문학 18 (3) : 203 ~ 233
[단행본] - 김우창 / 1992 / 예술과 초월적 차원 (심미적 이성의 탐구) / 서울: 솔 : 50 ~ 70
[단행본] - 김욱동 / 1992 / 모더니즘과 포스트모더니즘 / 서울: 현암사
[학술지(정기간행물)] - 페더만, 레이먼드 / 1994 / 문학의 마지막 입지점 / 외국문학 (40) : 86 ~ 97
[단행본] - 백낙청 / 1985 / 모더니즘에 관하여 (민족문학과 세계문학 II) / 서울:창작과 비평사 : 393 ~ 442
[단행본] - 김우창 / 1992 / 예술과 초월적 차원 (심미적 이성의 탐구) / 서울: 솔 : 50 ~ 70
[단행본] - 김욱동 / 1992 / 모더니즘과 포스트모더니즘 / 서울: 현암사
[학술지(정기간행물)] - 페더만, 레이먼드 / 1994 / 문학의 마지막 입지점 / 외국문학 (40) : 86 ~ 97
[단행본] - 백낙청 / 1985 / 모더니즘에 관하여 (민족문학과 세계문학 II) / 서울:창작과 비평사 : 393 ~ 442
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