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- 검색키워드
- 주제어 : Joseph Heller (검색결과 2 건)
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7센트에 사서 5센트에 팔면 3.25센트의 이익이 남는다 : 부조리, 자본주의,『캐치-22』
권석우 새한영어영문학회 2008 새한영어영문학 Vol.50 No.1
The study abroad as well as domestic of Joseph Heller's Catch-22, one of the representative WWII American texts, has not been sufficient enough for some unidentified reasons in the scholastic and critical world, despite the fact that its publication produced a new coinage, "Catch-22" in the English vocabulary. One can discern from the listed bibliography that there have been two ways in interpreting the texts in the rough: one focuses on its representation of absurdity, the other, its critique of capitalism and institution. This paper, however, argues that Yossarian's absurd world and Milo Minderbinder's world of capitalism can be interchangeable in that capitalism entails in a way absurdity itself in its genesis and nature. Milo's calculation that he can make a profit of 3.25 cents when buying for 7 cents and selling the same product for 5 cents is notorious for its absurd reasoning which, however, happens a lot in the world of capitalism. In the real world where absurdity reigns, Yossarian cannot be judged insane because he is insane. However, he could escape from the complex world of absurdity and capitalism by engaging and adopting the economy of distribution and gift, while avoiding the economic mode of production and consumption. When he treats Nately's whore's sister as human being, when he treats other as self in the world of distribution and gift, his imagined trip to the utopian Sweden could remain as a possibility to pursue, regardless of the utopian negativity in human history.
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『캐치-22』의 희비극적 반복구조와 요새리언의 탈영의 의미
손동철 ( Dong Chul Son ) 한국영미문화학회 2010 영미문화 Vol.10 No.3
In his novel Catch-22 Joseph Heller experiments with tonal development through elaboration of the repetitive patterns and narrative divisions. As the author points out about a recurring and cyclical structure in the novel, this essay first tries to define repetitive patterns in Catch-22, which are a series of identical scenes such as Snowden`s death and the soldier in white; repetitive patterns also include parallels in situation and motif such as various definitions of Catch-22 and the officers` leaves in Rome in chapters entitled Luciana(16), Nately`s Whore(33), and The Eternal City(39). As for the cyclical structure, the novel is divided into three parts: chapters 1-16, chapters 17-33, chapters 34-42. Each division starts with chapters 1, 17, 34, in each of which an episode of the soldier in white reappears. The first chapters of the three divisions represent the tones and moods of each division: the comic, serio-comic, and tragic. Heller employs that literary strategy for his novel, for he wanted people to laugh and then look back with horror at what they were laughing at. What readers see is the outcome of the military bureaucracy that enables the villain Milo Mindbinder`s M & M enterprise and his secret ring to consolidate their power and interests, as the military regulation Catch-22 justifies whatever they want to do because it has no real text or content. The only way Yossarian can break the illogical chain of Catch-22 is to cease to serve the system that perpetuates itself by the non-existent Catch-22 that requires his men to keep flying until their death. Seen in this light, the protagonist Yossarian`s desertion bespeaks his determination to say no to the absurd institution; it is his insistence on a moral principle that he has chosen to hold, instead of his physical safety and the honor of being a live war hero. His rowing a small raft with a little oar to go to Sweden is a courageous act to take his new responsibilities for his fellow men`s death and his live fellow men who decide to stay and in the Pianosa air base, debunking the bureaucratic system.
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