영국 심리소설에서의 시간 : 스턴, 조이스를 중심으로 = The problem of time in the Psychological Novel

다국어 초록 (Multilingual Abstract)

The problem of time in novel has long been an important matter of critical concern since 1920. It is not held that the worth of any novel can be measured wholly in terms of the success with which the time-element is treated ones, that go to the making of a great novel. All that is claimed, and the claim is a big one, is that the time-element in fiction is of major importance, that in a Large measure it determines the author s choice and treatment of his subject, the way he articulates and arranges the elements of his narrative, and the way he uses language to express his sense of the prose and meaning of living. Of all the generalizations about the novel, perhaps the safest would be the statement that more importance is being attached to what the characters think and how they think, less and less to what they do. This study of time and the novel ends with the consideration, of some aspects of modem fiction.
The purpose of this paper is to show the problem of psychological novels and the form, the medium is conditioned by certain ineluctable time-factors : how, in other words, the whole technique of fiction is involved with time, through the stream of conscious novels by Laurence stem and James Joyce s novel. Never perhaps have our feelings about time changed 20 radically and assumed such importance in our eyes as in this century. Besides the question of the angle of vision a number of other problems confront the novelist one of them concerns time. The novel describes the working out of a multiplicity of incidents, logically connected, in which the leading actors undergo a deeper change of personality or moral outlook as a consequence of their experience. Or else, if our novel is not primarily dramatic, but instead a social chronicle, it offers a broad view of the manners of society, also must indicate gradually that time is passing L but, of course, time is intangible. When the books ends, we do not feel that this is truly the finish, but that times goes on. The cycle of birth and growth, death and birth again. Modem art reflects an obsession with time which is as ridiculous as that of the Victorians with morality. As fiction is a time-art, the problem of its structure, conventions and techniques form a veritable arabesque of different time-values and factors.
Although sterne flouts the principle of chronological succession in fiction so flagrantly, he astonishes as by the accuracy with which the dates, scattered as they are in scores of so-called digressions are nevertheless made to cohere. In Tristram shandy he was to invent the method himself. By playing the different values of psychological and chronological time against each other, and by emphasizing the difference between them, he can at will convey a sense of urgency and hurry, or of relaxation, waiting and suspense.
Judged chronologically, Tristram shandy has neither beginning, middle or end The same thing is beheld in the novel, where the pranbish stern s treatment of time is gaily accordion-like. The narrator has set out to write his autobiography : he finally becomes aware that his entire book covers no more than his very first day of life. Joyce's Ulysses takes on a different light when regarded not merely as a record of certain day in Dublin but as the search of God the father for his errant child, or as an arrangement of the chaotic Welter of modern life in term of the archetypal pattern of mythic poetry.
The modernists gave the idea a Unique coloration. The most influential formulation Joyce's in the "epiphany" a brief prose passage representing an instant of perception.
There are three time elements inherent in the material of Stern and Joyce s novels. The first and most obvious was an element of actual present time, an element which carried the narrative forward, which represented characters and events as living in the present and moving forward into a immediate future. The second time element was of past time. In addition to these two time elements, there was a third which I conceived as being time immutable, a kind of eternal and unchanging universe of time against which would be projected the transience of man s life, the bitter briefness of his day.

목차 (Table of Contents)

• Ⅰ. 서론
• Ⅱ. 영국 심리소설에서의 시간
• Ⅲ. 결론
• <참고문헌>
• <Abstract>