Earticle

초록

영어

This paper explores what might be called the orientalist aspect of Don DeLillo’s postmodernist novels. DeLillo is often called postmodern because his works represent the lives saturated and dominated by free-floating media- and commercial images in contemporary American society, particularly focusing on the depthlessness and affectlessness of those lives. In terms of narrative strategies, too, he is well known as a postmodernist: the film-like fragmented tyle of representation, the idiosyncratic articulations of contingent episodes, the ironic twists and parodying of the dominant cultural, ideological elements. This paper, however, claims that DeLillo’s works can be better understood if we closely analyze the ways in which his fiction portrays non-Western individuals, attitudes, and conventions. By juxtaposing dichotomous pairs such as the individualist vs. the collectivist, the democratic vs. the totalitarian, and the peaceful vs. the violent, DeLillo’s works strongly reinscribe traditional Western dichotomy, or the epistemological basis of traditional Western orientalism. Even though he does not explicitly connects himself to the ideology of colonialism and orientalism, DeLillo cannot be said to be free of the traditional orientalist ideology because his narrative is heavily predicated on the traditional Western representational stereotypes which have been used to define the West as a better self-counterpart of the Orient-Other. This paper finally raises a question of whether the recontainment of DeLillo’s fiction by the traditional Western narrative ideology is a result of his being an American writer or it is a result of the ideology of postmodernism itself.

목차

I. 테러 시대의 미국 작가
 II. 화이트 패러노이아
 III. 들릴로, 오리엔탈리스트?
 IV. 포스트모던 오리엔탈리즘?
 인용문헌
 Abstract

키워드

저자

• 유정완 [ Jung-wan Yu ]

참고문헌

발행기관

간행물

표지보기 관심저널 등록

• 간행물명

  미국소설 [마크 트웨인 리뷰]

• 간기

  연3회

• pISSN

  1738-5784

• 수록기간

  1991~2020

• 등재여부

  KCI 등재

• 십진분류

  KDC 843 DDC 813