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『어둠의 핵심』의 서술 전략
The Narrative Strategy of Heart of Darkness
논문 기본 정보
- 자료유형
- 학술저널
- 저자정보
- 저널정보
- 19세기영어권문학회 19세기 영어권 문학 19세기 영어권 문학 제12권 1호 KCI등재
- 발행연도
- 2008.2
- 수록면
- 23 - 53 (31page)
이용수
『어둠의 핵심』의 서술 전략
초록· 키워드
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The critical evaluation of Heart of Darkness is closely related with the analysis of its narrative strategy. For example, Achebe’s logic is based on his critical reading of Heart of Darkness solely in the narrative level of Kurtz’s episode to condemn Conrad as a bloody racist. Achebe excludes all the other narrative levels when he says that the actual story takes place on the River Congo, the very antithesis of the Thames.
Heart of Darkness is a story of writing of Marlow as well as a writing of story of Kurtz. There is a multi-level narrative structure, with the frame structure of Chinese boxes, in which more narrative levels are likely to be detected than the levels of Kurtz’s episode and Marlow’s tale. Kurtz’s episode is located in the center like a kernel and circumscribed by Marlow’s tale. However, the meaning of Kurtz’s episode is not accepted literally by Marlow who has his own way of interpretation to reveal the implied meaning of Kurtz’s episode. The relationship of neighboring narrative levels here in this Chinese box structure can be defined in terms of the ironic discourse, which is caused by the discrepancies between the literal meaning of the lower narrative level and the implied meaning of the higher narrative level which tends to make one in the lower level somewhat unreliable.
There are two first person narrators in Heart of Darkness. One is Marlow and the other is called the frame narrator, the unnamed narrator, the outer narrator and so on. The narrative level of Marlow’s tale is enclosed by that of the frame narrator like “misty halos” even though its enclosure is not in a perfect shape. The ‘true’ meaning, if it exists at all, of Kurtz’s story is deflected through at least two narrative layers of Marlow’s tale and the frame narrative.
I’d like to introduce and add one more narrative level to the Chinese box structure. It is the narrative of the implied writer, which is explained as “the spectral illumination of moonshine” in Heart of Darkness. In order to provide verifiable evidence for the presence of the narrative level of the implied writer, the narrative strategy of Conrad’s three political novels, Nostromo, The Secret Agent and Under Western Eyes is examined to find out the ironic discourse to make the frame narrative somewhat unreliable in every one of these novels.
The narrative level of the implied writer cannot be clearly distinguished from the levels of the actual writer, Joseph Conrad and the reader because the presence of the implied writer is required to represent the epistemological uncertainty or crisis of the reader as well as the writer. Cunninghame Graham, socialist and MP of Labor Party, whose favorite opinion of Heart of Darkness was received warmly by Conrad who says “I am simply in the seventh heaven to find you like the H of D so far,” has the revolutionary spirit to attack imperialism as a system of power politics and economic exploitation without enough consideration upon the aspect of ideology fascinating intellectuals, writers, soldiers, politicians and businessmen. However, as Ian Watt warns us in Conrad in the Nineteenth Century, we must not forget that no real political alternative was suggested in the nineteenth century to Western penetration of the other continents. And imperialism is not just an ideological formation or practice of domination. It is also “a psychological matrix - indeed, a culture built around narcissistic fantasy and maintained through the weird logic of misdirection, denial, and disavowal” according to Beth Sharon Ash in Writing in Between. The reason why Conrad believed that “the novel is absolutely the only vehicle for the thought of our day” is that the most effective target is the culture, the foundation of imperialistic ideology. I believe Conrad tries to transform the consciousness of the readership into a new form suitable for the era beyond imperialism through the process of the ironic discourse of the implied writer to make the narrative of the frame narrator somewhat unreliable because the frame narrator represents the culture at that time.
Heart of Darkness is a story of writing of Marlow as well as a writing of story of Kurtz. There is a multi-level narrative structure, with the frame structure of Chinese boxes, in which more narrative levels are likely to be detected than the levels of Kurtz’s episode and Marlow’s tale. Kurtz’s episode is located in the center like a kernel and circumscribed by Marlow’s tale. However, the meaning of Kurtz’s episode is not accepted literally by Marlow who has his own way of interpretation to reveal the implied meaning of Kurtz’s episode. The relationship of neighboring narrative levels here in this Chinese box structure can be defined in terms of the ironic discourse, which is caused by the discrepancies between the literal meaning of the lower narrative level and the implied meaning of the higher narrative level which tends to make one in the lower level somewhat unreliable.
There are two first person narrators in Heart of Darkness. One is Marlow and the other is called the frame narrator, the unnamed narrator, the outer narrator and so on. The narrative level of Marlow’s tale is enclosed by that of the frame narrator like “misty halos” even though its enclosure is not in a perfect shape. The ‘true’ meaning, if it exists at all, of Kurtz’s story is deflected through at least two narrative layers of Marlow’s tale and the frame narrative.
I’d like to introduce and add one more narrative level to the Chinese box structure. It is the narrative of the implied writer, which is explained as “the spectral illumination of moonshine” in Heart of Darkness. In order to provide verifiable evidence for the presence of the narrative level of the implied writer, the narrative strategy of Conrad’s three political novels, Nostromo, The Secret Agent and Under Western Eyes is examined to find out the ironic discourse to make the frame narrative somewhat unreliable in every one of these novels.
The narrative level of the implied writer cannot be clearly distinguished from the levels of the actual writer, Joseph Conrad and the reader because the presence of the implied writer is required to represent the epistemological uncertainty or crisis of the reader as well as the writer. Cunninghame Graham, socialist and MP of Labor Party, whose favorite opinion of Heart of Darkness was received warmly by Conrad who says “I am simply in the seventh heaven to find you like the H of D so far,” has the revolutionary spirit to attack imperialism as a system of power politics and economic exploitation without enough consideration upon the aspect of ideology fascinating intellectuals, writers, soldiers, politicians and businessmen. However, as Ian Watt warns us in Conrad in the Nineteenth Century, we must not forget that no real political alternative was suggested in the nineteenth century to Western penetration of the other continents. And imperialism is not just an ideological formation or practice of domination. It is also “a psychological matrix - indeed, a culture built around narcissistic fantasy and maintained through the weird logic of misdirection, denial, and disavowal” according to Beth Sharon Ash in Writing in Between. The reason why Conrad believed that “the novel is absolutely the only vehicle for the thought of our day” is that the most effective target is the culture, the foundation of imperialistic ideology. I believe Conrad tries to transform the consciousness of the readership into a new form suitable for the era beyond imperialism through the process of the ironic discourse of the implied writer to make the narrative of the frame narrator somewhat unreliable because the frame narrator represents the culture at that time.
목차
Ⅰ. 서론
Ⅱ. 『어둠의 핵심』의 서술 전략
Ⅲ. 에피소드의 서술 차원
Ⅳ. 담화의 서술 차원
Ⅴ. 테두리 서술자의 서술 차원
Ⅵ. 내포작가의 서술 차원
Ⅶ. 결론
인용 문헌
Abstract
참고문헌 (40)
참고문헌 신청
Achebe, Chinua , 1990 , “An Image of Africa.” Ed. Robert D. Hamner. Joseph Conrad: Third World Perspectives. Washington D.C.: Three Continents P, 1990. 119-29
Ambrosini, Richard , 1991 , Conrad’s Fiction as Critical Discourse , Cambridge UP
Ash, Beth Sharon , 1999 , Writing in Between: Modernity and Psychosocial Dilemma in the Novels of Joseph Conrad , St.Martin’s P
Batchelor, John , 1994 , The Life of Joseph Conrad , Blackwell
Black, Susan L. , 1990 , "Racism and the Classics: Teaching Heart of Darkness.” Ed. Robert D. Hamner. Joseph Conrad: Third World Perspectives
Ambrosini, Richard , 1991 , Conrad’s Fiction as Critical Discourse , Cambridge UP
Ash, Beth Sharon , 1999 , Writing in Between: Modernity and Psychosocial Dilemma in the Novels of Joseph Conrad , St.Martin’s P
Batchelor, John , 1994 , The Life of Joseph Conrad , Blackwell
Black, Susan L. , 1990 , "Racism and the Classics: Teaching Heart of Darkness.” Ed. Robert D. Hamner. Joseph Conrad: Third World Perspectives
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