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자료유형
학술저널
저자정보
저널정보
한국근대영미소설학회 근대영미소설 근대영미소설 제19권 제1호
발행연도
2012.1
수록면
133 - 154 (22page)

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In the discussion on the grotesque in Laurence Sterne’s Tristram Shandy, the grotesque is generally perceived to be located in the “oddities” of the characters and the book itself. In order to reach a more fundamental understanding of the grotesque of Tristram Shandy, the paper will examine the grotesque in its original pictorial form and explore how they existed as grotesque marginalia and the structural dynamic created within. After which, a closer look into the grotesque dynamics and structure of Tristram Shandy will be given. Before being introduced as a literary concept the grotesque, in art history, referred to two types: the medieval grotesques and the classical renaissance grotesques. Existing mainly in the margins and edges as grotesqueries, medieval liturgical manuscripts and the Raphael Loggia are, respectively, the most familiar forms where these two types were employed. The paper will examine the latter (the Raphael Loggia) and explore the grotesque that is inherent in Tristram Shandy by looking into the grotesque as marginal image and understand its position in the “big picture” as it creates a rival force against the narrative of the center, ultimately decentering and disordering the monological perception of the center. Such grotesque dynamics explain the deformation and disruption of the narrative progression of Tristram’s book.

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