「내가 운전을 배운 방법」에 나타난 탈주의 미학: 파편화와 통합의 대위법

The Aesthetics of Flight in How I Learned to Drive :A Counterpoint Between Fragmentation and Integration .

This paper examines how Paula Vogel dramatizes a new trauma paradigm in How I Learned to Drive , and suggests that this postmodern memory play demonstrates a new aesthetics of flight in pursuit of whole subjectivity. Li’l Bit’s memory and body have been fragmented since Uncle Peck’s initial molestation. However, she gradually overcomes her sexual trauma and reclaims agency through self-narrating to the audience. Vogel invites her audience to the process of integrating a fragmented self into a whole. Like Hélène Cixous, Vogel’s writing is concerned with fluidity and the process of transformation and transcendence. Li’l Bit subverts a classical survivor-perpetrator dynamic by exercising the control of narrating and reconstructing past memories and finally integrates her past and present selves by forgiving Peck and forgiving herself about complicity in the relationship. Applying Deleuze’s concept of flight to Irigaray’s attention to personal subjectivity can be a creative reading of Vogel’s counterpoint between fragmentation and integration. Vogel’s metaphor of flight means the continual becoming of self and pursuing subjectivity of wholeness and thus opening up a new, transcendent future.