「내가 운전을 배운 방법」에 나타난 탈주의 미학: 파편화와 통합의 대위법

• 영문명: The Aesthetics of Flight in How I Learned to Drive :A Counterpoint Between Fragmentation and Integration .
• 발행기관: 한국영미어문학회
• 저자명: 신지숙(Jisook Shin)
• 간행물 정보: 『영미어문학』영미어문학 제118호, 219~238쪽, 전체 20쪽
• 주제분류: 어문학 > 영어와문학
• 파일형태: PDF
• 발행일자: 2015.09.30

영문 초록

This paper examines how Paula Vogel dramatizes a new trauma paradigm in How I Learned to Drive , and suggests that this postmodern memory play demonstrates a new aesthetics of flight in pursuit of whole subjectivity. Li’l Bit’s memory and body have been fragmented since Uncle Peck’s initial molestation. However, she gradually overcomes her sexual trauma and reclaims agency through self-narrating to the audience. Vogel invites her audience to the process of integrating a fragmented self into a whole. Like Hélène Cixous, Vogel’s writing is concerned with fluidity and the process of transformation and transcendence. Li’l Bit subverts a classical survivor-perpetrator dynamic by exercising the control of narrating and reconstructing past memories and finally integrates her past and present selves by forgiving Peck and forgiving herself about complicity in the relationship. Applying Deleuze’s concept of flight to Irigaray’s attention to personal subjectivity can be a creative reading of Vogel’s counterpoint between fragmentation and integration. Vogel’s metaphor of flight means the continual becoming of self and pursuing subjectivity of wholeness and thus opening up a new, transcendent future.

목차

1. 서 론

2. 신체와 기억의 파편화와 소외

3. 암묵적 공모와 권력전이

4. 용서와 치유의 통합 , 그리고 탈주

5. 결 론

키워드

Paula Vogel How I Learned to Drive flight fragmentation integration subjectivity self-narrating fluidity transcendence 폴라 보걸 「내가 운전을 배운 방법」 탈주 파편화 통합 주체성 자기서사 유동성 초월