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      침묵과 노래 : 토니 모리슨의 『가장 푸른 눈』과 『재즈』의 발화와 서사

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      https://www.riss.kr/link?id=T14924765

      • 저자
      • 발행사항

        서울 : 고려대학교 대학원, 2018

      • 학위논문사항

        학위논문(석사) -- 고려대학교 대학원 , 영어영문학과 , 2018. 8

      • 발행연도

        2018

      • 작성언어

        한국어

      • 주제어
      • 발행국(도시)

        서울

      • 기타서명

        Silence and music : enunciation and narrative in Toni Morrison's The Bluest eye and Jazz

      • 형태사항

        103 p. ; 26 cm

      • 일반주기명

        지도교수: 윤조원
        참고문헌: p. 95-101

      • UCI식별코드

        I804:11009-000000081942

      • DOI식별코드
      • 소장기관
        • 고려대학교 도서관 소장기관정보
        • 국립중앙도서관 국립중앙도서관 우편복사 서비스
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      다국어 초록 (Multilingual Abstract)

      Toni Morrison’s two novels, The Bluest Eye and Jazz, have certain similarities that focus especially on the characters’ silence. Two novels do not elucidate the story in a simplistic way, but rather, condense the tragic event into a short paragrap...

      Toni Morrison’s two novels, The Bluest Eye and Jazz, have certain similarities that focus especially on the characters’ silence. Two novels do not elucidate the story in a simplistic way, but rather, condense the tragic event into a short paragraph that strikes the reader with an unforgettable impact from the very beginning. Although The Bluest Eye and Jazz have similar aspects on the narrative structure, they do not end in a same way.
      The tragedy that the characters confront and have to live with seems to be the central subject, but the two novels concentrate more on the process of how the characters have come to face the traumatic event. In other words, the emphasis is on the reason why the characters are in silence, how the tragedy has occurred, and how they are remembered. Pecola, Cholly, and Pauline Breedlove in The Bluest Eye and Violet, Joe Trace and Dorcas in Jazz lose their voice that could enunciate their existence. The language they use comes from the language of the white, and it does not consist of any word that could represent their self as an entity.
      The characters do not tell their own story. They are silent. The story is carried on by various narrators with different perspectives. Polyvocal narrators sometimes consent, but sometimes object to each other, and sometimes the narrator makes mistake in comprehending the characters’ affliction. It is significant to concentrate on the differing layers of the narrative.
      The language used to narrate depends on the white-centered world and it cannot explicate the whole story of the black. The inability to extensively cover the black community is the limitation of the language. Thus, the factors of black music come in to the novel to embrace the hidden story of the black and allow the silent characters to enunciate. That is, in order to represent the black society where the characters belong to, the musical notes are used to express the silenced aspects of the black characters.
      Black music acts as a bond between the blacks. It contains the long history of the Black that could never be detached from their lives. Through music, they understand each other and sympathize. However, one essential difference between The Bluest Eye and Jazz is that the black community in The Bluest Eye cannot fully examine the positive elements of black music, and ultimately, it fails to break silence. The black community fails to provide the solid ground for the characters to build a communion. On the other hand, in Jazz, black music is prevalent in the background of the story. It is attached to the lives of the characters and has influence on the characters’ perspectives and relationships. Eventually, it shows the possibility to go beyond the harmony of individuals and toward the harmony of the black community, which also can be construed as the possibility of the break of silence.

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      목차 (Table of Contents)

      • I. 서론 ………………………………………………………………………………………… 1
      • II. 본론
      • 1. 침묵의 역사: 고통과 상실 ………………………………………………………·· 12
      • I. 서론 ………………………………………………………………………………………… 1
      • II. 본론
      • 1. 침묵의 역사: 고통과 상실 ………………………………………………………·· 12
      • 2. 발화의 (불)가능성과 이어적 서사 ………………………………………………· 42
      • 3. 침묵과 노래: 언어와 비언어 ……………………………………………………·· 66
      • III. 결론 ……………………………………………………………………………………·· 92
      • 인용문헌 ……………………………………………………………………………………· 95
      • Abstract …………………………………………………………………………………… 102
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