작중 인물의 존재 양식 : 제임스 조이스의 「죽은 사람들」 의 경우 The Mode of Existence of Character in James Joyce`s"The Dead"

다국어 초록 (Multilingual Abstract)

All the discussion of narrative fiction has mainly focussed on one of its basic components, events, to the neglect of the others, particularly characters. Events are often the most fundamental requirement in narrative. But characters need a fuller treatment. A character in a story is a construct, put together by the reader throughout the text. The most serious problem of character probably concerns the way in which he (or she) may be said to exist.
For this purpose of character-analysis, I choose "The Dead," the finest story in Dubliners. This work is different in kind from the rest; it is on a different scale, and it originated in a different and almost contrary impulse.
The story is seen through the eyes of Gabriel Conroy who is, at least in part, a portrait of Joyce as he feared he might have become if he had stayed in Dublin. Perhaps it would be truer to say that Gabriel is a representation of Joyce when he was not an artist. Gabriel is caught between love and hate of his city and its people, conceit and self-contempt. The intuition of some mysterious threat to his existence has come to Gabriel when Gretta responds to The Lass of Aughrim, one of famous Irish ballads. Finally, Gabriel's own identity is fading out into a grey impalpable world.
In "The Dead," we assembles various character-indicators, inferring the trait from them. Joyce makes us believe that characters are inextricable from the rest of the desigh in narrative fiction through the portrayal of Gabriel and Gretta. In the end, this work is certainly Joyce's astonishing achievement for the general presentation of characterization.