The Narrative Strategy of Heart of Darkness and Its Film Adaptations

이만식 문학과영상학회 2009 문학과영상 Vol.10 No.1

The narrative strategy of Heart of Darkness, which has not been satisfactorily explained, is one of the major causes of continuous critical debates on its literary and cultural significance and also on its recent film adaptations such as Francis Coppola’s Apocalypse Now (1979/2001), Bob Christiansen and Rick Rosenberg’s Heart of Darkness (1994) and Peter Jackson’s King Kong (2005). The critical evaluation of Heart of Darkness is, therefore, closely related with the analysis of its narrative strategy. Heart of Darkness is a story of the writing of Marlow as well as a writing of the story of Kurtz. There is a multi-level narrative structure here, with the frame structure of Chinese boxes, in which more narrative levels are likely to be detected than the levels of Kurtz’s episode and Marlow’s tale. Heart of Darkness has a multi-level frame narrative structure. Each narrative has a double time structure: story time and discourse time. Heart of Darkness has a least quadruple time structure: Kurtz’s episode, Marlow’s tale, the frame narrative and the implied writer’s writing. The space of each narrative is quite different. Kurtz’s episode happens in the River Congo area. Marlow’s yarn is spinning on the Nellie on the Thames. The frame narrative is narrated somewhere in London. The ideal space for literary creation is assumed for the implied writer. Each space is independent in its own purpose for each narrative but metaphorically enclosed by its neighboring higher narrative. Each narrative is independent in its own progress but dependent on its neighboring narrative for its significance. The enclosure of higher narrative level is not flawless. Its incompleteness is rather accentuated in many ways. The topological hierarchy of layers of narrations in this Chinese box structure is often disturbed so that the relationship between two neighboring narratives may be described as subversive ironic relationship as in the case of Marlow’s tale and the frame narrative. The narrative structure of film is not so similar to that of the novel. The difference between the two modes of narrative is principally caused by the fact that film narrative is presented mainly by way of showing while literary narrative is represented by way of telling. The narrator, i.e., a telling person, is, therefore, a prime presenter of the main story in novel for its dominant medium is language. Director plays a major role in film. This is why narrator is not easy to express in the film in which telling is not so dominant a mode of communication as in the novel. But it is rather spontaneous and natural to assume the director in a position quite similar to the implied author which is really difficult to discern in novel as another agent of directing its narrative flow. The narrative strategy of film is different from that of novel. This is one of the reasons why Francis Coppola has to struggle to find out a suitable narrative structure for Apocalypse Now as a film adaptation of Heart of Darkness whose complex narrative structure has been examined in this paper. This is one of the main reasons why Apocalypse Now, Heart of Darkness the movie and King Kong are examined in this paper for the film adaptations of Heart of Darkness espacially in terms of its narrative strategy. The narrative strategy of Heart of Darkness, which has not been satisfactorily explained, is one of the major causes of continuous critical debates on its literary and cultural significance and also on its recent film adaptations such as Francis Coppola’s Apocalypse Now (1979/2001), Bob Christiansen and Rick Rosenberg’s Heart of Darkness (1994) and Peter Jackson’s King Kong (2005). The critical evaluation of Heart of Darkness is, therefore, closely related with the analysis of its narrative strategy. Heart of Darkness is a story of the writing of Marlow as well as a writing of the story of Kurtz. There is a multi-level narrative structure here, with the frame structure of Chinese boxes, in which more narrative levels are likely to be detected than the levels of Kurtz’s episode and Marlow’s tale. Heart of Darkness has a multi-level frame narrative structure. Each narrative has a double time structure: story time and discourse time. Heart of Darkness has a least quadruple time structure: Kurtz’s episode, Marlow’s tale, the frame narrative and the implied writer’s writing. The space of each narrative is quite different. Kurtz’s episode happens in the River Congo area. Marlow’s yarn is spinning on the Nellie on the Thames. The frame narrative is narrated somewhere in London. The ideal space for literary creation is assumed for the implied writer. Each space is independent in its own purpose for each narrative but metaphorically enclosed by its neighboring higher narrative. Each narrative is independent in its own progress but dependent on its neighboring narrative for its significance. The enclosure of higher narrative level is not flawless. Its incompleteness is rather accentuated in many ways. The topological hierarchy of layers of narrations in this Chinese box structure is often disturbed so that the relationship between two neighboring narratives may be described as subversive ironic relationship as in the case of Marlow’s tale and the frame narrative. The narrative structure of film is not so similar to that of the novel. The difference between the two modes of narrative is principally caused by the fact that film narrative is presented mainly by way of showing while literary narrative is represented by way of telling. The narrator, i.e., a telling person, is, therefore, a prime presenter of the main story in novel for its dominant medium is language. Director plays a major role in film. This is why narrator is not easy to express in the film in which telling is not so dominant a mode of communication as in the novel. But it is rather spontaneous and natural to assume the director in a position quite similar to the implied author which is really difficult to discern in novel as another agent of directing its narrative flow. The narrative strategy of film is different from that of novel. This is one of the reasons why Francis Coppola has to struggle to find out a suitable narrative structure for Apocalypse Now as a film adaptation of Heart of Darkness whose complex narrative structure has been examined in this paper. This is one of the main reasons why Apocalypse Now, Heart of Darkness the movie and King Kong are examined in this paper for the film adaptations of Heart of Darkness espacially in terms of its narrative strategy.

인문학적 상상력과 서사전략 서정주 이야기시의 서사전략 -세 가지 화자 유형을 중심으로-

박민영 ( Min Young Park ) 한국현대문예비평학회 2011 한국문예비평연구 Vol.- No.36

The Narrative Strategy in Seo Jeong-ju`s Narrative Poetry -Centering on 3 types of narrator -(Sungshin Women`s University) Park, Min-Young One of the main reasons for readers abandoning poetry is because they think that poetry is difficult to understand. Poetry is by its nature vague and ambiguous, which consequently leaves it open to wide possibilities of various interpretations, but at the same time this just as much puts ordinary readers trying to understand it at a disadvantage. In order to catch fleeing readers, the poet Seo Jeong-ju`s strategy was to introduce a novelistic or dramatic ``action`` element to his poetry. Indeed, storytelling is used as a narrative strategy. The poet Seo Jeong-ju judged that it is through the splendid medium of the story itself that he could communicate with the reader. From this were born Seo Jeong-ju`s volumes of narrative poetry. The prerequisites of a narrative poem are a story and a narrator telling the story. In this work, I have presented the narrators of Seo Jeong-ju`s poems, divided into different types according to what kind of narrator tells the story, how the story is told, and what the distinctive characteristics of the stories being told are. The narrators in Seo Jeong-ju`s poetry can be divided into three types: reporter-narrator, character-narrator, and critic-narrator. In Ⅱ, I have examined the reporter-narrator, focusing on the poem ``海溢(Tidal Wave)``. The story told by the reporter-narrator is based on personal experience, told in such a way as for readers to feel as if they were there, and the narrator-reporter particularly features strongly in the Chilmajae from childhood. In Ⅲ, focusing on ``處容訓(Cheoyong`s Lesson)`` and ``朴赫居世王의 慈堂 娑蘇仙女의 自己紹介`` (Self-introduction of Goddess Sa-so, Mother of King Park Hyukgeose.)`, I have examined the character-narrator. The character-narrator tells its story by using its character`s persona to act out the characters in the story. In Ⅳ, focusing on ``老人獻花歌(Song of an Old Man Giving a Flower)`` and ``水路夫人의 얼굴(Lady Soo-ro`s Face)``, and ``志鬼와 善德女王의 艶史(Queen Seonduk and Jigwi`s Love Story)``, I have examined the critic-narrator. The critic-narrator comments on characters` actions or personality. Through the narrators in these narrative poems, the poet Seo Jeon-ju could concretely explain what he couldn`t have said in a lyrical self-confessional poem, and effectively convey his message. He could also directly reveal his own views. By telling his emotions through narrative, the poet and reader could share what he intended to communicate. Therefore the narrative of Seo Jeong-ju`s poetry can by all means be seen as a metaphor for the poet`s poetic emotion. Converting verse to a story also converted a great deal of poetry`s ambiguity and vagueness to clarity. Symbols and ellipses are substituted with explanation. Clarifying and simplifying poetry`s meaning in this way could just as much be seen as breaking away from the essence of what poetry is. However, this one poet`s method of using narrative to overcome the limits of poetry in terms of communication with the reader should be regarded highly. Seo Jeong-ju`s narrative poetry`s narrative strategy, with its similarities to the communicative style of popular media in the modern era, should continue to discussed with interest in the future.

고전서사에 나타난 죽음의 서사 전략

김진영 한국언어문학회 2019 한국언어문학 Vol.110 No.-

This paper examines death in narrative literature in terms of narrative strategy. First, the boundaries between life and death were established, and the narratives beyond the boundaries, the narratives staying on the boundaries, and the narratives over the boundaries were divided into outlined narratives. Based on this, I tried to find out the meaning by examining how death functions as an narrative strategy in each narration genre. The narration that crosses the boundary between life and death ends story with death. The dead do not return to reality and do not exercise any physical power. Because death is the end of one-time life, not only the character is finite but also the space is closed. Intentional consciousness often ends in incompleteness. This corresponds to the legendary character. Like Kimhyungam-ho, this type of works end all by the death of the hero. The narration that stays at the boundary between life and death does not divide life and death Dichotomy, but sets an abstract space of life on the edge of life and death. This is because it is necessary to summon the dead temporarily and to be compatible with what is lacking. This type is characterized by drawing both the living and the dead. As a result, the character combines finite and infinite, the space shows enclosed and openness, and the sense of orientation also shares disconnection and continuity. Like Choichiwon while temporarily loving with ghost, this type is a work that the living accomplishes the loneliness of the reality and the dead accomplishes the bit desire. The narration’s core that breaks down the boundary between life and death is the worldly happiness. Death is only used as a device to maximize the pleasure of reality. In this type, death is like a temporary pause. This work is made by focusing on worldly wealth and prosperity. Therefore, the character has infinite power, and the space is open to the borders of life and death. Intentional consciousness also connects reality with death. This type is to return dead people to reality and digest everyday life without interruption like Jeongeulseon-jeon. Death is noteworthy in terms of narrative strategy. This death was used as a device to enhance narrative capability in each genre of narrative literature. If the narrative beyond the boundary is relatively dwarfed, the narrative stayed at the boundary is amplified a little, and the narrative beyond the boundary is greatly amplified. In addition, the genre of narrative literature shows differences in reality discourse. In the narrative beyond the border, the dead have no influence on the realistic discourse, and the narrative at the border is limited but intervenes in the real problem. And the narrative that breaks the boundary returns to reality and continues the fulfilled life. In addition, we can confirm the historical variation of the narrative literature. In the narrative that transcends the border between life and death, the legendary attribute is strong because death is used as a device to express awe while harvesting natural order. It is a biography that summons the dead and expands the narrative to add legend to the actual problem. And it is classical novel that calls to the dead semipermanently within a biography. As the story of death continues to accelerate, it has been transformed from legend to biography and from biography to fiction.

법인기업 대표자 연대보증 폐지에 관한 정책 변동 연구: 정책 내러티브의 활용 양상을 중심으로

임효진 ( Hyojin Im ),주지예 ( Jiye Ju ) 성균관대학교 국정전문대학원 2021 국정관리연구 Vol.16 No.3

본 연구는 정책자금 대출에 대한 법인기업 대표자의 연대보증 제도 폐지 과정에서 정책행위자들의 정책내러티브가 어떻게 생성되고 경쟁하면서 정책변화가 산출되었는지를 분석하기 위해 정책내러티브 모형(Narrative Policy Framework, 이하 NPF)을 활용하였다. 제도폐지를 옹호하는 연합과 제도유지를 옹호하는 연합 간의 갈등을 정책신념, 내러티브 전략, 설정 및 등장이라는 내러티브 요소를 중심으로 분석을 수행하였다. 국가경제발전을 위한 규제완화라는 설정 안에서 연대보증 폐지옹호연합은 창업활성화라는 정책신념에 기반하여 금융기관을 악당으로, 대표자를 희생자로 지칭하여 연대보증의 폐해를 극적으로 강조 및 전세를 확장하는 내러티브 전략을 펼쳤다. 반면, 연대보증 유지옹호연합은 책임경영이라는 정책신념에 기반해 대표자를 악당으로, 금융기관과 국민은 희생자로 표현하며 편익이 소수의 대표자에게 집중되는 반면 비용은 다수 국민에게 전가됨을 강조하였다. 두 연합 모두 악의적 비방을 공통으로 활용하였으나 폐지옹호연합의 경우 악의적 비방외에도 서정적 서사를 활용하거나 ‘연대보증’이라는 단어를 ‘족쇄’, ‘늪’, ‘덫’과 같은 응축된 상징들을 적극 활용하는 수사적 전략을 사용하였다. 즉 악의적 비방의 전략이 공통적으로 사용될 경우, 추가적으로 더 다양한 내러티브 전략을 활용하는 것이 결과적으로 선호하는 정책을 산출해내는데에 효과적인 것으로 나타났다. 연대보증 폐지라는 정책변동의 인과기제를 정책내러티브를 통해 이해함으로서 내러티브의 각 요소별 영향력과 수사적 내러티브 전략의 중요성 또한 발견하면서 향후 NPF의 연구에서 분석될 내러티브 구성요소들을 다각화하는데에 기여할 수 있을 것이라 기대된다. This study analyzes policy narratives in the policy change of abolishing the joint guarantor on public guarantee system for the corporation representatives. The Narrative Policy Framework(NPF) has developed with the concept of the narrative regarded as policy change factor and it helps to understand the mechanism of the policy change. The analysis framework in this study is composed of several narrative components which are policy belief, policy narrative strategy, setting and character. Competing policy actors in the case of abolishing the joint guarantor on public guarantee system for the corporation representatives splitted into two groups like pro-guarantor and anti-guarantor. Each group tried to persuade the public by applying various narrative components to put each their preference into policy change. The major findings are as follows. Both of pro-guarantor and anti-guarantor were standing on the setting of national economic development but different policy beliefs created a competition. situation. The policy belief of anti-guarantor coalitions was promotion of start-ups and that of pro-guarantor coalitions was responsible management. Both used only Devil-shift strategy without Angel-shift. And ‘distribution of benefits and costs’ strategy was also applied to each group narrative but anti-guarantor coalitions used more narrative strategies such as rhetorical narrative strategy. In this case, using more diverse narrative strategies affects the public by helping the public better recognize their costs and burdens.

A Study On The Narrative Strategy Of The Film Set Off

Yang BaoHua(양보화) 한국엔터테인먼트산업학회 2017 한국엔터테인먼트산업학회논문지 Vol.11 No.4

영화 예술에 관한 가장 중요한 미학적 기제는 바로 서사이다. 영화의 매력은 이야기의 매력을 의해여 표현해 낸다. 영화의 서사 차원으로 보면 어떤 방법으로 이야기를 다루는가? 즉, 어떤 방법으로 영화의 서사의 구조를 다루는가는 한 영화 작품에 아주 중요한 일이라고 할 수 있다. 그러나 좋은 이야기를 다루는 것이 쉬운 일이 아니다. 좋은 서사는 소재, 줄거리, 이야기 고조, 결말 등 많은 요수가 포함되어 있다. <즉일 출발> 이 영화는 시각적 효과등 방면에 큰 투자하지 않았으며, 매체 홍보를 이용도 하지 않았다. 그런데 색다른 방법으로 다루는 서사를 통해 이 영화는 관객들에게서 좋은 평가를 얻었다. <즉일 출발>의 각종 서사의 다루는 방법, 줄거리 설정, 인물 설정, 세미한 내용 표현 등에 분석을 통해서 영화의 서사 다루는 전략을 연구한다. 서사 전략은 영화 제작과정 중에 활용하는 것을 논정한다. For the film and television art, the most important aesthetic mechanism is narrative. To a large extent, the charm of the film depends on the charm of the story. From the narrative point of view, "how to tell the story" or "with what kind of narrative strategy to tell the story" is the core of the question. However, in the movie, to tell a story is not easy, because it involves the story material, plot structure, incentive events, climax development, the end and many other elements. For the film Set Off, although the film did not make significant investments in visual effects and special effects, either spend too much on media and information hype, it made many achievements in the narrative of the story. It won a great reputation through a good narrative for the film. The article tries to analyze the application of narrative Strategy in Film and Television through the analysis on the film"s narrative structure, cross-narrative means, as well as the plot settings, suspense settings, character settings, details of the content and so on.

한일 동성친구간 일상대화에 있어서의 내러티브 대조연구 -내러티브의 산출과 도입을 중심으로-

장윤아(張允娥) 한국일본어학회 2020 日本語學硏究 Vol.0 No.65

This study analyzed similarities and differences in the production aspect and introduction strategies of narrative observed in daily conversation between the same sex speakers in Japanese and Korean. Results of this study can be summarized as follows: (A) In both Japanese and Korean conversation, narratives that contribute to the development of topics have the highest proportion of usage. As for the narrative produced to express consensus or empathy with the counterpart, it was observed more frequently in the conversation between female friends in both Japanese and Korean. (B) Participants produce narratives as a means of changing conversation to a new topic more often in Korean conversation than in Japanese conversation. Moreover, participants in Korean conversation tend to introduce narratives without using strategies. When a narrative relevant to a certain topic was initiated in Korean conversation, participants often use the strategy that presents the conclusion obtained from the event first. When producing the narrative that provides the information similar to what the counterpart provides, participants tend to use the strategy of expressing their will to speak. (C) A narrative that contributes to the conduction and development of topics is produced with a higher frequency in Japanese conversation than in Korean conversation. When producing a narrative to change the topic, Japanese often use the strategy of notifying the change of a flow of conversation. Moreover, when introducing a narrative related to the topic and a narrative that provides the information similar to what the counterpart provides, the most preferred strategy is to talk about the conclusion of the story first. The speaker often uses the strategy of expressing the will to talk spontaneously.

A Study On The Narrative Strategy Of The Film Set Off

양보화 한국엔터테인먼트산업학회 2017 한국엔터테인먼트산업학회논문지 Vol.11 No.4

For the film and television art, the most important aesthetic mechanism is narrative. To a large extent, the charm of the film depends on the charm of the story. From the narrative point of view, "how to tell the story" or "with what kind of narrative strategy to tell the story" is the core of the question. However, in the movie, to tell a story is not easy, because it involves the story material, plot structure, incentive events, climax development, the end and many other elements. For the film Set Off, although the film did not make significant investments in visual effects and special effects, either spend too much on media and information hype, it made many achievements in the narrative of the story. It won a great reputation through a good narrative for the film. The article tries to analyze the application of narrative Strategy in Film and Television through the analysis on the film's narrative structure, cross-narrative means, as well as the plot settings, suspense settings, character settings, details of the content and so on.

원자력발전 정책결정과정의 정책 내러티브 연구 - 신고리 5·6호기 공론화의 옹호연합체를 중심으로 -

주지예 ( Jiye Ju ),박형준 ( Hyug Jun Park ) 한국정책학회 2020 韓國政策學會報 Vol.29 No.2

최근 공론화로 대표되는 시민참여형 정책결정과정에서 광범위한 이해관계자의 참여는 옹호연합을 활성화 시키고 옹호연합체들이 시민들을 설득하기 위해 사용하는 단어, 언어, 말 등은 최종적인 정책선호 결정에 중요한 영향을 미치면서 최근 정책연구에서는 핵심적인 정책변동요인으로 주목받고 있다. 이러한 맥락에서 본 연구는 정책변동에 대한 새로운 관점의 전환을 제공하는 정책내러티브모형(NPF)을 활용해 긍정적인 평가를 받고 있는 신고리 5,6호기 공론화 사례를 분석하여 인과기제를 밝혀내고자 하였다. 건설중단측과 건설재개측으로 구분되는 정책 옹호연합체 간의 역동성을 NPF에서 제공하는 다양한 내러티브 구성요소 중 내러티브 전략에 중점을 두어 분석요소를 선정하고, 이론적 논의를 통해 코딩북을 새롭게 구축하여 질적코딩 및 기초통계분석으로 집단 간 차이를 분석하였다. 비용편익 전략, 비난전략, 악의적 비방 및 호의적 과시 전략, 과학적 근거활용 전략이라는 4가지 전략을 기준으로 가설을 세운 후 검증한 결과, 먼저 비용편익 전략의 경우 건설중단측과 건설재개측의 내러티브 전략이 유사한 것으로 나타났다. 비난전략은 건설중단측이 고의적으로 건설재개측을 가리켜 비난하는 내러티브를 활용하는 것으로 분석되었다. 악의적 비방 및 호의적 과시 전략에 있어서도 두 집단간 차이가 유의미하게 나타났는데, 건설재개측은 본인의 집단을 긍정적인 이미지로 영웅시하는 내러티브 전략을 주로 활용한 반면 건설중단측은 상대방 집단을 부정적인 이미지, 즉 악당화 시키는 내러티브 전략을 주로 활용하였다. 과학적 근거활용 전략의 경우 활용 목적 방향에 있어서는 채택된 가설이 없었지만 활용 유무에 있어서는 두 집단간 유의미한 차이가 있었다. 건설재개측이 건설중단측보다 과학적 근거를 정책 내러티브로 적극적으로 활용한 것으로 나타났다. This study analyze policy narratives in the decision making process of the nuclear power policy through the case of deliberative polling for Shin-gori No.5&6. Policy narratives including language or text and actual words people use have performed important role in the mechanism of the policy change in the policy decision making process. Especially, conflicting coalitions involved in the deliberative polling used to produce diverse and provocative narratives to have more impact on the process. This study focused on advocacy coalitions’ narratives in the deliberative polling for Shin-gori N0.5&6 and analyzed their policy narratives. This study developed code book consist of analysis elements systematically based on the Narrative Policy Framework(NPF). It provides methodical approach for analyzing narratives. Narrative strategy elements among many elements were explored mainly in this study. 11 hypotheses of narrative strategy were examined with chi-square test. The major findings are follows. First, both of anti-nuclear coalition and pro-nuclear coalition were used ‘distribution of benefits and costs’ strategy in same direction. Second, Blame strategy was more used in anti-nuclear coalition. Third, Devil.shift and Angel-shift were statistically significant between them. Pro-nuclear coalition deployed more angel shift but anti-nuclear coalition took more devil shift in their narratives. Forth, both of them used the strategy, use of science, but pro-nuclear coalitions selected more this tactic for demonstration as scientific evidence. Finally, anti-nuclear coalitions have more made effort to persuade public by using various narrative strategies and elements than pro-nuclear policy coalitions in the case of Shin-gori No.5&6. However, public gave more support the pro-nuclear and it means strategy to make rationale decision are more effective.

서사적 장르 규약의 해체 이해에 초점을 둔 서사교육 내용

선주원 한국국어교육학회 2024 새국어교육 Vol.- No.139

목적: 이 글은 독자가 화자의 언술 전략인 ‘장르 규약의 해체’에 나타난 복합적인 시선과 목소리를 이해하고 해석하는 것이 화자의 다성성을 타당하게 해석하는 토대가 된다는 관점에서, 장르 규약 해체를 표상하는 서사체를 해석하기 위한 서사교육의 교육내용을 마련하는 것을 연구 목적으로 하였다. 방법: 독자가 장르 규약 해체라는 화자의 언술 전략을 이해하고 해석하는 과정에는 화자의 맥락뿐만 아니라 독자 자신의 다양한 맥락을 객관화하는 반성적 성찰이 수행된다. 또한 독자의 맥락화된 서사 읽기와 반성적 성찰은 서사적 존재로서 그의 정체성을 재구성할 수 있게 하는 윤리적 행위이다. 아울러 서사적 장르 규약 해체의 서사적 의미 읽기, 장르 규약의 해체 이해에 초점을 둔 서사교육 내용 등에 대한 논의는 서사교육의 외연 확장에 기여한다. 결과: 서사교육의 내용은 ‘언술 내용의 독해를 방해하는 언술 전략 이해하기’, ‘화자의 언술 전략에 나타난 이념의 다성성 이해하기’, ‘화자 이념의 다성성 추론하기’, ‘윤리적 반성을 통한 자아 성찰 및 성장 도모하기’ 등이었다. 결론: 제시된 교육내용은 2022 개정 국어과 ‘문학’ 영역에서 강조한 타자 이해, 자아 이해와 성장, 세계 인식의 고양 등을 강조하는 관점과 관련된다. Purpose: The purpose of this article is to prepare the educational content of narrative education to promote such a foundation, as understanding and interpreting the complex gaze and voice shown in the ‘dismantling of genre conventions’ as a speaker’s speech strategy is the basis for the reader’s valid interpretation of the narrative body. Methods: It was discussed that reflective reflection was performed to objectify not only the speaker’s context but also the reader’s own various contexts in the process of understanding and interpreting the speaker’s speech strategy of dismantling genre conventions. It was also examined that the reader’s contextualized narrative reading and reflective reflection were ethical actions that enabled him to reconstruct his identity as an epic being. In addition, the contents of narrative education focused on the dismantling of narrative genre conventions and hyper-narrative character, reading the narrative meaning of narrative genre conventions, and understanding genre conventions were discussed. Results: The content of narrative education was set to ‘understand stable reading of speech content’, ‘understanding the ideology shown in the speaker’s speech strategy’, ‘inferring the speaker’s ideology’, and ‘promoting self-reflection and growth through ethical experiences’. Conclusion: The prepared educational content was prepared from the perspective of emphasizing the understanding of others, self-understanding and growth, and raising global awareness emphasized in the 2022 revised Korean Language and Literature area.

『어둠의 핵심』의 서술 전략

이만식(Man Sik Lee) 19세기영어권문학회 2008 19세기 영어권 문학 Vol.12 No.1

The critical evaluation of Heart of Darkness is closely related with the analysis of its narrative strategy. For example, Achebe’s logic is based on his critical reading of Heart of Darkness solely in the narrative level of Kurtz’s episode to condemn Conrad as a bloody racist. Achebe excludes all the other narrative levels when he says that the actual story takes place on the River Congo, the very antithesis of the Thames. Heart of Darkness is a story of writing of Marlow as well as a writing of story of Kurtz. There is a multi-level narrative structure, with the frame structure of Chinese boxes, in which more narrative levels are likely to be detected than the levels of Kurtz’s episode and Marlow’s tale. Kurtz’s episode is located in the center like a kernel and circumscribed by Marlow’s tale. However, the meaning of Kurtz’s episode is not accepted literally by Marlow who has his own way of interpretation to reveal the implied meaning of Kurtz’s episode. The relationship of neighboring narrative levels here in this Chinese box structure can be defined in terms of the ironic discourse, which is caused by the discrepancies between the literal meaning of the lower narrative level and the implied meaning of the higher narrative level which tends to make one in the lower level somewhat unreliable. There are two first person narrators in Heart of Darkness. One is Marlow and the other is called the frame narrator, the unnamed narrator, the outer narrator and so on. The narrative level of Marlow’s tale is enclosed by that of the frame narrator like “misty halos” even though its enclosure is not in a perfect shape. The ‘true’ meaning, if it exists at all, of Kurtz’s story is deflected through at least two narrative layers of Marlow’s tale and the frame narrative. I’d like to introduce and add one more narrative level to the Chinese box structure. It is the narrative of the implied writer, which is explained as “the spectral illumination of moonshine” in Heart of Darkness. In order to provide verifiable evidence for the presence of the narrative level of the implied writer, the narrative strategy of Conrad’s three political novels, Nostromo, The Secret Agent and Under Western Eyes is examined to find out the ironic discourse to make the frame narrative somewhat unreliable in every one of these novels. The narrative level of the implied writer cannot be clearly distinguished from the levels of the actual writer, Joseph Conrad and the reader because the presence of the implied writer is required to represent the epistemological uncertainty or crisis of the reader as well as the writer. Cunninghame Graham, socialist and MP of Labor Party, whose favorite opinion of Heart of Darkness was received warmly by Conrad who says “I am simply in the seventh heaven to find you like the H of D so far,” has the revolutionary spirit to attack imperialism as a system of power politics and economic exploitation without enough consideration upon the aspect of ideology fascinating intellectuals, writers, soldiers, politicians and businessmen. However, as Ian Watt warns us in Conrad in the Nineteenth Century, we must not forget that no real political alternative was suggested in the nineteenth century to Western penetration of the other continents. And imperialism is not just an ideological formation or practice of domination. It is also “a psychological matrix - indeed, a culture built around narcissistic fantasy and maintained through the weird logic of misdirection, denial, and disavowal” according to Beth Sharon Ash in Writing in Between. The reason why Conrad believed that “the novel is absolutely the only vehicle for the thought of our day” is that the most effective target is the culture, the foundation of imperialistic ideology. I believe Conrad tries to transform the consciousness of the readership into a new form suitable for the era beyond imperialism through the process of the ironic discourse of the implied writer to make th