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수정주의 소설시학 : 「블라이드데일 로멘스」와 「보스턴 사람들」
함연진 한국호손학회 1997 미국소설 Vol.4 No.1
As Harold Bloom points out, the history of fruitful literary influence is to be said a history of anxiety and self-saving caricature, of distortion, of perverse, wilful revisionism without which modern fiction as such could not exist. To some extent, it is true that James has built Hawthorne into the generative processes of his art. To conceive, in James's case, is to conceive with Hawthorne's aid: to imagine a narrative world is to have recourse to Hawthorne's imaginings; to know his subjects is to grasp them in Hawthorne's light. Once the Hawthorne-James relation is established, it is customary to turn to their books and watch how they interact. The Blithedale Romance and The Bostonians were selected for this kind of research in this paper. My own strong sense is that the difference in the way James's novel bears influence is not explicable in terms of influence alone. The altered form of literary traditionality is one of a whole set of related transformations in turn reflect James's inauguration of not just a different way of writing but a different way of thinking about the kind of work that writing it. Not surprisingly, Blithedale becomes the central Hawthorne text for James. The Bostonians, a novel in which every effort to enlist another in a cause masks a move to enlist that other in the service of one's desires, concisely reenacts what James takes to be the lesson of Blithedale: the unconcious way in which the search for the common good may cover a hundred interested impulses and personal motives. What James specifically lifts out of Blithedale is Hawthorne's way of representing the operation of abstract ideas in dramatic action. Methodological superiority is one more advantage James can claim in his ongoing struggle with Hawthorne, and during his realist phase it is the tactical weapon he relies on most heavily. By affirming the value of realism's $quot;closer notation,$quot; he can construe Hawthorne's fiction as, in effect, unachieved-suggestive idea, but imperfect in its relation. Every blurred element in Blithedale becomes an element James can show off his superior initiation by correcting, so his goal in The Bostonians is to refashion and rewrite Blithedale in such a way as to leave nothing vague.
함연진 한국 헨리제임스 학회 1998 헨리 제임스 연구 Vol.- No.3
It is certainly true that James admired Turgenev and learned much from him about the art of fiction. As Roderick Hudson reveals, James uses Turgenev's detached, "dramatic" method in his novel and shares his interest in sensibility. But Roderick Hudson also has a different texture than one finds in Turgenev, partly because Turgenev was more genuinely worldly than James. In contrast with Turgenev's extraordinary naturalness, one finds in Roderick Hudson an upperclass Anglo-American stiffness and consciousness of vulgarity. Turgenev's characters seem to live from their souls, while many of James's characters in Roderick Hudson live merely from the surface of their minds. However, The Marble Faun is essential to James's conception of Roderick Hudson-in its subject matter of American artists in Rome; its theme of American innocence implicated in old-world corruption; its highly suggestive patterning of a Fall. But James has improved upon Hawthorne by providing plausible and realistic specification that makes his conception socially lucid. Hawthorne's fable of the Fall is still discernible in Roderick Hudson, but it has receded into the background as poetic and moral suggestion, while the foreground is occupied by James's precise notation of manners. In his apprenticeship stories James sometimes referred to Hawthorne for insights into the nature of American experience, in certain cases, he shaped his realistic characters from Hawthorne's romance models, But in Roderick Hudson James takes leave of his old master and arrives as a novelist in full possession of his own world. Just as James makes Hawthorne's New England virgin credible, so he does also the expatriate colony in Rome. In Hawthorne, the American artist colony is so shadowy and unsubstantiated that it seems to include hardly more than four people. In James, however, there is a larger elaboration, and a precise notation of the social and psychological types who make up the American circle. Hawthorne's "heir" in the American novel, he will now have come into his inheritance, and will describe his predecessor's genius as beautiful and "provincial."