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논문 기본 정보
- 자료유형
- 학술저널
- 저자정보
- 발행연도
- 2026.3
- 수록면
- 263 - 293 (31page)
- DOI
- 10.29324/jewcl.2026.3.75.263
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초록· 키워드
This article examines the aesthetics of historiographic metafiction and the politics of memory in Viet Thanh Nguyen’s The Sympathizer. Utilizing Linda Hutcheon’s theoretical framework, the study demonstrates how the novel destabilizes the traditional boundary between historical fact and literary fiction through sophisticated narrative strategies such as self-reflexivity, parody, and intertextuality. The analysis focuses on the novel’s ‘confessional frame,’ which functions as a meta-narrative tool to expose the instability of memory and the coercive power of ideological surveillance. By portraying a narrator with a divided identity—a communist sleeper agent who is also a CIA collaborator—Nguyen illustrates the fractured subjectivity inherent in the postcolonial experience. A central component of this study is the critique of the fictional film The Hamlet, a direct parody of Francis Ford Coppola’s Apocalypse Now. This episode serves to dismantle Hollywood’s mythic aura and reveals how Vietnamese suffering has been systematically appropriated to serve American existential narratives and the ‘memory industry.’ Furthermore, the study explores how the depiction of torture in the novel links the Vietnam War to modern conflicts in Iraq and Afghanistan, highlighting the persistence of imperial violence and CIA interrogation techniques across decades. By incorporating paratextual references to historical documents and refugee testimonies, Nguyen situates the Vietnam War within a global history of violence and forgetting and restores silenced voices to the official record. The conclusion interprets the narrator’s ultimate embrace of “nothing” as a paradoxical liberation from oppressive binary ideologies.
#Apocalypse Now
#Confession
#historiographic metafiction
#The Sympathizer
#Viet Thanh Nguyen
#고백
#동조자』
#비엣 타인 응우옌
#역사기록 메타픽션
#『지옥의 묵시록』
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목차
- ABSTRACT
- I. 서론: 비엣 타인 응우옌과 『동조자』의 문학적 위치
- II. 역사기록 메타픽션의 이론적 배경과 미학적 전략
- III. 『동조자』의 메타픽션적 분석: 기억과 재현
- IV. 결론: ‘Nothing’의 윤리와 기억
- Works Cited
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