글로버메뉴 바로가기 본문 바로가기 하단메뉴 바로가기

논문검색은 역시 페이퍼서치

미국소설검색

American Fiction Studies


  • - 주제 : 어문학분야 > 영문학
  • - 성격 : 학술지
  • - 간기: 연3회
  • - 국내 등재 : KCI 등재
  • - 해외 등재 : -
  • - ISSN : 1738-5784
  • - 간행물명 변경 사항 : 호손연구(~2002)→호손과 미국소설 연구(2003~)→미국소설(2007~)
논문제목
수록 범위 : 17권 1호 (2010)
5,600
초록보기
The purpose of h s paper is to present how the established image of "American Indian" is demythologized and the truest "indian`ness" is invented in the time-travel trickster narrative night by Native American author Sherman Alexie. To locate Alexie`s novel in the cultural and academic horizon of the twenty first century, under the umbrella of health pursuit, elucidates Alexie`s intention to "cure" "trauma." By means of various theories of trauma and cure, trickster and humor, Levinas, and ehcs of nitnessing, h s paper brings forth the concrete nature of Alexie`s pains to promote the health for not only Native Americans but also all manland.

돈 들릴로,포스트모던 오리엔탈리스트?(1)

유정완 ( Jung Wan Yu )
5,900
초록보기
This paper explores what might be called the orientalist aspect of Don DeLillo`s postmodernist novels. DeLillo is often called postmodern because his works represent the lives saturated and dominated by free-floating media-and commercial images in contemporary American society, particularly focusing on the depthlessness and affectlessness of those lives. In terms of narrative strategies, too, he is well known as a postmodernist: the film-like fragmented tyle of representation, the idiosyncratic articulations of contingent episodes, the ironic twists and parodying of the dominant cultural. ideological elements. This paper, however, claims that DeLillo`s works can be better understood if we closely analyze the ways in which his fiction portrays non-Western individuals, attitudes, and conventions. By juxtaposing dichotomous pairs such as the individualist vs. the collectivist, the democratic vs. the totalitarian, and the peaceful vs. the violent, DeLillo`s works strongly reinscribe traditional Western dichotomy, or the epistemological basis of traditional Western orientalism. Even though he does not explicitly connects himself to the ideology of colonialism and orientalism, DeLillo cannot be said to be free of the traditional orientalist ideology because his narrative is heavily predicated on the traditional Western representational stereotypes which have been used to define the West as a better self-counterpart of the Orient-Other. This paper finally raises a question of whether the recontainment of BLillo`s fiction by the traditional Western narrative ideology is a result of his being an American writer or it is a result of the ideology of postmodernism itself.

『파코의 이야기』: 끝나지 않은 이야기, 치유되지 않은 상처

이승복 ( Seung Bok Yi )
6,400
초록보기
Larry Heinemann`s Paco`s Stoy is about an individual named Paco Sullivan, who is the sole survivor of the massacre at Fire Base Harriette by friendly fire. What distinguishes t h~s text from other Vietnam War texts is that Heinemann is portraying not so much about the atrocities of war as individual`s struggles to be accepted in a community he once belonged to. For a more effective delivery of his message, Heinemann deliberately chooses the narrative voice and the names of his imaginary audience, protagonist and spatial setting. These techniques enable Heinemann to present his story not as the one about one specific individual`s but as the one about Everyman`s. The Americans Paco has met during his long journey is either ignorant of the war or incapable of understanding what the war means both to individual soldiers and civilians. Paco`s physical presence is thus a painful reminder of the war, and for this reason American public either deliberately or ignorantly fail to understand the physical and mental sufferings Paco has to endure despite Paco`s implied capacity to express what he has undergone during his stay in Vietnam. Paco`s silence is then the author`s counterattack against such attitudes of American people and society. What makes it worse is that even those who have experienced similar traumatic past are unable to make themselves heard to each other. Paco`s journey is to find home where people will to listen to his story and accept him as their member, but the home he is seeking may never be found in America as the text implicitly testifies.

경제공황과 문학: 1930년대 대공황과 준 도스 패소스의 『미합중국』

이준영 ( Jun Young Lee )
6,300
초록보기
It may not be an exaggeration to consider the Great Depression of the 1930s as the single most important economic event in the twentieth century. No depression before or since in America or in the western world had such a deep impact, aftereffects as well, not only on the economic system but also on the everyday life of the people living under the system. Many theoretical discourses of economy and cultural history have tried to measure out the causes and effects of the Great Depression. For Marxists, economic depression has been attributed to overproduction of capitalism; on the other hand, for academics like Peter Temin and Gene Smiley, outdated financial policy and gold-standard banking system hale been the culprits for the Depression. Cultural historians like Frederick L. Allen have blamed social exuberance and greedy investment for causing the Depression. Amid their differences, they all pointed out the bubble boom saturated both in economy and in mind of people as the main cause for the Great Depression. It is quite natural for literary works of the depression era, regardless of popular or serious ones, to do their best for figuring out the Great Depression as well as for dramatizing the personal moments and historical events before and after the depression. Likewise, as a product of the post-depression era, John Dos Passos`s U.S.A. trilogy, made up of The 42nd Parallel, Nineteen Nineteen, and The Big Money, tried to portray the historical phases of American capitalism from the origin of World War I to the outbreak of the Great Depression in light of the post-depression disillusionment and ironical cynicism. It is interestingly significant that the trilogy takes advantage of such stereotypical literary formulas as "the myth of success," "the cult of failure," and "the grotesque body," which can be found in many popular literary works of the depression era. However, the genius of the U.S.A. trilogy lies in its way of reversing and satirizing the literary formulas through differentiated repetition. By means of using the literary formulas of the depression era, Dos Passos`s trilogy scores a success of portraying the devastation of the Great Depression, thereby exposing the contradictions and cruelties of monopoly capitalism.

벨로우 소설에 나타난 유태인의 동화와 실존의 양상

조윤주 ( Yoon Joo Cho )
5,800
초록보기
Since the end of World War 11, as a Jewish intellectual and writer, Saul Bellow has played most important role in American literature. Although he insisted that he was not a Jewish writer but an American one, his origin having a legacy of Judaic tradition that focused on living a moral life as well as being alive in America has led him to represent the views of immigrants from East Europe who had been persecuted for their ethnics. Basically the features of Bellow`s works are based on his Jewishness, and his heroes try to survive in the New World America. In addition, Bellow himself tried to be a typical American by describing American heroes like Augie March and Eugene Henderson by way of various journeys into the World including America itself. In terms of alienation in America, whether he is Jew or not, everyone has to survive as an American citizen and affirm the fact that he can survive alienation by recovering the relationship with outer world including strangers. Henderson is the representative hero who substantiates the dream of his own paradise in America. He decides in his 50s to go to medical school and to help the sick, on his way back to America from journey into Africa. Through his symbolic journey to Africa, he recognizes the dreadful reality in Nature and the relationship with others in the course of Gelassenheit. Before the journey he was terrified by death and struggled to avoid it helplessly. But after realizing that it is impossible to avoid death, Henderson is willing to face the actual world and decides to become a member and part of the world. If we admit to live as an immigrant, we have to be alienated and be treated as a member of minor group. Bellow is not willing to be alienated from the world and as well synthesizes the features of Judaic tradition and American innovation. He neither admits American Jews to be alienated as immigrants. He ardently expresses the dream of Zion in America where his heroes and Jews can survive alienation and live fairly as American citizens, which is Bellow`s major goal.

Trans-spatial/subjective Storytelling in Comfort Woman

( Dae Joong Kim )
6,100
초록보기
In this paper, I analyze Nora Okja Keller`s Comfort Woman and prove that the novel is based on so-called "chronotope of congregation" as literary totality where images congregate to reflect the witers` concrete experiences in the actual spaces. In this chronotope of congregation, Soon Hyo and Beccah expand their intersubjective relations into trans-subjective relations, reflecting and contrasting voices and experiences from many women who had to suffer from colonialization and patriarchal violence. Soon Hyo, as a trans-subjective/spatial narrator performs and practices shamanic rituals that create poetic relations among women across various spaces. This poetic relations also bring up poetic totality among all beings-in-the-world who/which suffered. In the same token, Soon Hyo`s storytelling supplemented by Korean folklore subverts the hierarchy of truth and lie to resist historical interment of comfort women`s stories and to disinter hidden historical violence. Beccah, as a narratee and translator, contends with and translates stories told by women including Soon Hyo, Soon Hyo`s mother, Induk, and so on. Beccah`s hybrid identity ontologically, linguistically help modal translation across various painful experience women in different spaces testify. With Soon Hyo`s storytelling and Beccah`s translation, the chronotope of congregation turns into a trans-subjective, trans-spatial choral for healing ritual.

Hegelian Power Relations in Passing and Autobiography of Ex-Coloured Man

( Seog Kwang Lee )
5,600
초록보기
This paper aims to read Nella Larsen`s Passing and James Weldon Johnson`s Autobiography of Ex-Coloured Mm in view of power relations propounded in Hegel`s master-slave relationship. The main issue h s paper recognises regarding Hegel`s idea is that people are seeking recognition from others and this involves power relations. Hegel illustrates the power relations with his well-know master-slave model where it can lead to a cultural element. A socio-cultural attitude regarding black people presumably triggered the novels in question. This is where hs paper discovers a sense of power-relations lurking in the novels. They show the characters` reshaping self-identity and faking their identity which American culture has given birth to over its history in relation to the racial differences. It defines a black person as anyone with any "discernible" amount of "colored" or "African" blood. The novels dramatise people who look undiscernibly black and their struggle to get a recognition on their fabricated identity and the power relations revolve on the strife for the recognition. Hegelian idea of slave-bondsman relation is interpretably implemented in h s paper to offer the power relations in the synthetic movement which is a more general, trans-racial sense of American identity that might be constructed in moving toward social and cultural equality.
5,300
초록보기
Inherent Vice, which just came out last summer, is Pynchon`s third California novel about the Sixties, a period of eternal youth and beach sunlight besieged by the recurring surges of Cold War paranoia. In his first California novel, The Crying of Lot 49, Pynchon investigates the counter-cultural possibilities of paranoid imagination originally set in motion by the early Cold War dramas of public witch hunting, blacklisting, and spiritual persecution. The novel tends to embrace paranoia as a way of preserving political agency against the repressive regimes of government control and secrecy, often elevating paranoia to the level of almost religious epiphany or transcendence. When Pynchon revisits the Sixties with his second California novel more than twenty years later, however, the period is remembered on the whole as a failed experiment overdosed with the acid dreams of hippie revolution and utopian fantasy. Looking back from the resurgence of Cold War paranoia during the Reagan presidency to the Nixon era that signaled the end of the Sixties, Vineland is a mournful conjuration of the memories of betrayal and disillusionment, pointing to the dismal political valence of the paranoid mode of subversive imagination in the mid-80s and thereafter. Inherent !Ace is Pynchon`s latest attempt to salvage the Sixties, not so much by reclaiming its puerile idealism of instantaneous redemption and innocence as by recognizing in a way comic-sentimental all too human vulnerabilities or "inherent vices" in the comedy of error called the Sixties.

Hawthorne`s Spiritual Quest Beyond the Churches in The Marble Faun

( Moon Ju Shin )
6,600
초록보기
This essay explores Nathaniel Hawthorne`s spiritual quest into the mystery of sin by examining his use of the Unpardonable Sin and the Fortunate Fall (felix culpa) in 7he Scarlet Letter and The Marble Faun. In The Scarlet Letter, Hawthorne foregrounds "the Unpardonable Sin," which is his version of the unpardonable sin that Jesus speaks of Revised as it is, "the Unpardonable Sin" shows that the author is under the influence of New England Puritanism`s emphasis on the justice of God. In contrast, R e Marble Faun shows a shift in Hawthorne`s attitude toward sin. Employing the early Christian concept of the Fortunate Fall, Hawthorne tests an alternative to the Puritan way of understanding sin. While the unpardonable sin is related to Original Sin and the Puritan notion of the total depravity of humanity, the fortunate fall emphasizes God`s love for humankind. This shift in Hawthorne`s moral awareness does not indicate an artistic decline in the author`s work. Rather, it suggests a spiritual maturity as he breaks free from the limits of his Puritan worldview. By reflecting on the negative views of both Puritanism and Roman Catholicism pervasive in nineteenth century America, Hawthorne draws the reader into the two romances. He then goes on to shed positive light on the two religious traditions in an effort to bring both of them justice. In the process, he seeks an answer to his own lifelong question of the mystery of sin. By innovating such concepts as the unpardonable sin and the fortunate fall and crossing over the boundaries of Puritanism and Roman Catholicism, Hawthorne implies that the established Church is a means to salvation, not the ultimate authority over an individual. This focus on Hawthorne`s quest into the truth of sin reveals the concerns of nineteenth century New Englanders with regard to their spiritual situation.
1