계몽주의 담론의 이율배반과 '소설의 발생' (The Antinomy of the Enlightenment Discourses and the Rise of the Novel)

서지정보

· 발행기관 : 한국영어영문학회
· 수록지 정보 : 영어영문학 / 54권 / 1호 / 3 ~ 29페이지
· 저자명 : 김봉률

초록

Ian Watt, author of The Rise of the Novel, maintained that the novel originated
in modern England, came from prose discourses such as the news, political
essays and journalistic writing which propagated the Enlightenment, and
the novels represent formal realism. The main point of this paper is to examine
Watt’s theory of the rise of the novel on the basis of the criticism of antinomy
of the Enlightenment and “the public sphere” in Habermas’ terms.
At first, I will criticize formal realism, which is not a new literary species,
but a formally renovated realistic form that represented capitalism and protestantism.
And, then, I will show that formal realism is a kind of antinomy
because it turned away from the voices and reality of the low-class and
women though the novel concentrated on common people, not the aristocrats.
Secondly, I will inquire into the antinomy of the Enlightenment in the
aspects of reason, freedom, individualism and women. In my view, as soon as
the high-middle class acquired their political rights, these values were no
more encouraged and the result revealed antinomy of the Enlightenment more
explicitly.
Thirdly, I’d argue that “the public sphere” had positive meanings to everyone
when the bourgeosie were fighting against the Absolutism and the aristocracy.
I’ll also insist that the high-middle class and the intellectuals were in
“the public sphere” in which Habermas argues that rationality and equality
were thought to have been realized, while the low-middle class and most
women were de-enlightened and disciplined by reading the novel privately.
In conclusion, formal realism is not the rise of the novel, but the opening of
the novel peculiar to bourgeosie parliamentarism from the middle-eighteenth
century to the middle-twentieth century.

영어초록

Ian Watt, author of The Rise of the Novel, maintained that the novel originated
in modern England, came from prose discourses such as the news, political
essays and journalistic writing which propagated the Enlightenment, and
the novels represent formal realism. The main point of this paper is to examine
Watt’s theory of the rise of the novel on the basis of the criticism of antinomy
of the Enlightenment and “the public sphere” in Habermas’ terms.
At first, I will criticize formal realism, which is not a new literary species,
but a formally renovated realistic form that represented capitalism and protestantism.
And, then, I will show that formal realism is a kind of antinomy
because it turned away from the voices and reality of the low-class and
women though the novel concentrated on common people, not the aristocrats.
Secondly, I will inquire into the antinomy of the Enlightenment in the
aspects of reason, freedom, individualism and women. In my view, as soon as
the high-middle class acquired their political rights, these values were no
more encouraged and the result revealed antinomy of the Enlightenment more
explicitly.
Thirdly, I’d argue that “the public sphere” had positive meanings to everyone
when the bourgeosie were fighting against the Absolutism and the aristocracy.
I’ll also insist that the high-middle class and the intellectuals were in
“the public sphere” in which Habermas argues that rationality and equality
were thought to have been realized, while the low-middle class and most
women were de-enlightened and disciplined by reading the novel privately.
In conclusion, formal realism is not the rise of the novel, but the opening of
the novel peculiar to bourgeosie parliamentarism from the middle-eighteenth
century to the middle-twentieth century.

참고자료

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