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James Joyce Journal


  • - 주제 : 어문학분야 > 영문학
  • - 성격 : 학술지
  • - 간기: 반년간
  • - 국내 등재 : KCI 등재
  • - 해외 등재 : -
  • - ISSN : 1229-5604
  • - 간행물명 변경 사항 :
논문제목
수록 범위 : 12권 2호 (2006)

2006 International Issue : Foreword

( Eun Kyung Chun )
4,500
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The current paper is sort of interiorized or aesthetic self-examination on the significance of reading Joyce with his native cultural and literary backgrounds and perhaps implicitly in its neighboring East Asian countries like China and Japan. It is basically planned and pursued according to the expectations of comparative literature. More specifically, the writer examines some of the more familiar aspects of his native literary assets that show aesthetic kinship with some characteristic qualities of Joyce. Korean aesthetic temper found in such writers as Kim Satkat and such genres like pansori and some times such Eastern beliefs and correspondences drawn from Iching et al are implicated in comparison with some counterpart styles of writing or emotional features in Joyce. Historical experiences of Korea are sometimes cited along with comparable phases or characteristics of Japan and China and Ireland marginally, for the writer`s ultimate purpose of discussing the status of Korean readership is to sound for the possibility of creating beyond the national boundary a meaningful community of readers in East Asia although such prospect is not so much discussed as suggested.
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Since James Joyce was introduced in Japan, several novels have been written either directly or indirectly under his influence. But in this paper I limit my argument to some phases. First I deal with the early reactions of our writers to A Portrait of the Artist as a Young Man and Ulysses and secondly the influence of Finnegans Wake reflected on one of the contemporary Japanese novels and this will be the chief subject of my paper. In regard to the early reaction to A Portrait of the Artist as a Young Man, I will refer to the literary climate peculiar to Japan of those days when Ich- or I-novels were flourishing. Ulysses, with its stream of consciousness style, gave a strong impression upon our writers. Several novelists immediately responded and attempted the style. But it does not seem to have taken root. Perhaps the too illogical nature did not fit Japanese mentality of the time. In 1991 and `93 the first complete translation of Finnegans Wake by Yanase was published. But most of our novelists as well as readers were bewildered or indifferent to this too difficult a work. In February 2006 a novel titled Afterglow appeared in a literary magazine. The author Nobuo Kojima had never read Finnegans Wake, but there are some affinities with Joyce`s work in this novel. Perhaps Kojima was unknowingly inspired by the literary and philosophical trend of the latter part of the 20th century whose source is Finnegans Wake. I think that Afterglow is a reflection of the effect Finnegans Wake has had on the contemporary literature since it appeared in 1939.
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The study of James Joyce in China might be divided into three stages. The first stage starts from the year when Ulysses was published in 1922, while some modern Chinese writers noticed it and introduced it briefly here and there in Chinese periodicals, to the year 1977 when China was ready to be open again to the Western cultures. The second stage is from 1978 to 1993 when the first Chinese version of Ulysses would come out soon. The third stage is from 1994, which saw two Chinese versions of Ulysses in the same year, to the present. At the first stage, there were only very scattered and shallow introductions. And at the second stage, we gradually studied Joyce and his works in an expanding scope with more translations and critical scholars. At the third stage, our Joyce study comes of age in a sense. But there is still a long way to go, if we are to join the main stream of international Joyce studies.
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James Joyce studies in Taiwan is always already tinted with global and diasporic colors because of the tutelage of the exiled scholar, Chi-an Hsia, and the Jesuit missionary, Father Demers, at its embryonic stage half a century ago. Over the years, it has gone through dramatic changes in terms of the number of papers published and the range of subjects studied. This paper examines its development and transformation by dividing the 150 entries of Joyce papers into seven categories - Dubliners, A Portrait of the Artist as a Young Man, Ulysses, Finnegans Wake, Exiles, Chinese Translation and its Related Studies, Cross-cultural and General Studies in Joyce. While arguing for the legitimacy of the "inauthenticity" of East-Asian scholars in doing Joyce, the paper also highlights the global-local interaction of Joyce studies in Taiwan, and further calls for regional collaboration among East-Asian Joyceans in order to voice themselves collectively in the international arena of Joyce studies.
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This article aims to introduce the general attitude regarding Japan/world affairs in Joyce`s time, and to argue on Joyce`s reception of Japan in his works and the Japanese reception of Joyce from a postcolonial perspective. In a letter to his brother Stanislaus on November 6, 1906 James Joyce showed his interest in Japan`s military power at that time: "Japan, the first naval power in the world, I presume, in point of efficiency, spends three million pounds per annum on her fleet" (L II,188). His comment reflects Japanese victories of the First Sino-Japanese War (1894-1895) and the Russo-Japanese War (1904-1905). Joyce found it rather naive to heap insults on England for her misdeeds in Ireland: "A conqueror cannot be casual, and for so many centuries the Englishman has done in Ireland only what the Belgian is doing today in the Congo Free State, and what the Nipponease dwarf will do tomorrow in other lands" (CW 166). Joyce directly or directly referred to the three Asian wars; the First and Second Sino-Japanese Wars and the Russo-Japanese War in his texts. The casus belli of those wars was desire for colonies, Manchuria and Korea. It seems that Joyce regarded Korea as an equivalent to his native country Ireland. Joyce`s angle on the Japanese Empire seems rather ironic. At first Joyce and other Irish people thought it good that a minor Asian country like Japan defeated one of the Great Powers. However, as Japan began to devote itself to imperialism, they were deceived in their expectation. Joyce did not stand for imperialism nor colonialism. Joyce would also have found it rather naive to heap insults on Japan for her misdeeds in Korea and China. It will depend on us Asians as to whether Joyce`s idea of the "United States of Asia" or Sun Yat-sen`s Pan-Asianism will come true in the twenty-first century.
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This paper will mostly present, not necessarily a research to raise a wind, but a brief historical survey of Joyce scholarship in Korea and its current status, including this writer`s own humble dedication to this fascinating journey. At present, Joyce`s complete works such as Dubliners, A Portrait of the Artist as a Young Man, Ulysses, Exiles, Stephen Hero, even Finnegans Wake, and his complete poems of Chamber Music, Pomes Penyeach, with "Giacomo Joyce," and his major critical writings like "Drama and Life" and "Ibsen`s New Drama,"(both of which serve as a useful gloss in his aesthetic and artistic views), have been translated into Korean. The James Joyce Society of Korea was established in 1979 and has performed its task of three or four scholarly affairs such as its symposium, its international conference, the publication of its academic journal, its monthly reading of Ulysses, its attendance of the annual Bloomsday celebration, etc. The third revised Korean version of Ulysses is close to its completion. After Joycean studies of nearly half a century thus far, the translator now modestly hopes this forth-coming edition will be a definitive one, and will have a historical validity which no other translation has ever had. The JJSK hopes its 2006 International Conference of this time will be brought to great fruition.
6,000
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"The Sisters" has long been conceived of as an introductory story to Dubliners, which carries the paralysis leitmotif to incorporate the entire fifteen stories of the book. Joycean critics tend to readily connect Father Flynn`s paralysis as a polymorphous concept to Joycean notion of "the moral history" by associations of a sexual disease and consequent readings of "The Sisters" as well as Dubliners as Joyce`s moral opprobrium. Departing from instant evocations of syphilis by the priest`s paralysis, which have dominated Joycean criticism during the last decades, my reading of "The Sisters" shifts a focus from a moral judgment on the priest`s paralysis to the Dublin mindset, which is based upon the Irish ethos of familial relationship coercing extremely emotional togetherness that causes him to be extremely nervous. Father Flynn`s paralysis is psychogenic, i.e. a sort of psychosomatic disease.the body`s response to mental stress. His mental stress comes from the Flynn family`s dysfunctional interactions. In short, the pathogenesis of Father Flynn`s paralysis is a series of negative feedbacks taking place in his family. The priest`s severe nervousness engendering his religious scrupulosity is both caused and causative: his anxiety is precipitated by his siblings` frequent treatment of him as mentally abnormal and, at the same time, their brother`s unusual behavior causes them to be more anxious about their brother`s hypersensitive personality, which in turn makes him more intolerable to their perceptions as such. The family systems view of Father Flynn`s psychosomatic disease is a divergence from a psychoanalytical view of his psychogenic symptom. The Freudian psychoanalysis focuses on the individual by analyzing his inner psychic struggles, whereas the family systems model postulates that enmeshed family structure contributes to the development and maintenance of psychosomatic symptoms. In "The Sisters," the priest`s physical immobility is attributed to family anxiety involving all the family members in a stressful situation.

2006 International Issue : Other Articles ; Paralysis and Nostalgic Memory in "Eveline"

( Kyoung Sook Kim )
5,400
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This paper examines how individual memories as mirror image of national history are detrimental to reaching an epiphany or a keen sense of political and historical consciousness. In "Eveline," nostalgic memory ends up disguising the past and paralyzing Eveline`s agency and ability to change her oppressive present. As long as nostalgic memory of the past repeatedly numbs her pains in the present, it is not so easy for Eveline to sever the umbilical cord that has bound Eveline to her family for her whole life, much as the Irish are yoked to Irish history. In this view, memories cannot be seen simply as counter histories that could straightforwardly challenge the legitimizing force of history. Instead, we should note that memories are in complex complicity with history in paralyzing individuals. Much like history, nostalgic memory turns an individual into a "passive" and "helpless" being (D 41). More importantly, since an individual`s memories are deeply intertwined with his/her national history, the story "Eveline" can be read as an alternative historiography mapping how much of Irish``s psychological territory is colonized by the Janus faced past―rosy and nostalgic, but oppressive and paralyzing at the same time―just as Ireland`s national territory is colonized by the foreign force. In other words, the psychological state of Eveline can be expanded to the Irish collectively, who are like "passive," "helpless animal[s]" (D 41), both under the grip of oppressive, dehumanizing history, and under the paralyzing hypnosis of nostalgic memories of their lost homeland.
5,100
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Mr. Duffy, a highly sophisticated Dublin intellectual, develops a love affair with Mrs. Sinico who turns out to be a lady of great sensibility and maternal warmth. Their turbulent affair, however, comes to an end when he denies her abrupt advance toward him. Four years later, Mrs. Sinico is reported killed in a train accident. The newspaper headlines it "A Painful Case." Yes, it is painful. Isn`t Mr. Duffy`s case painful, as well? This paper starts with the question and tries to lay bare Mr. Duffy`s personality issues. My argument is that he may be one who simply cannot bring himself to feel, emotionally as well as sexually. This partly explains why he is so driven, fastidiously orderly, and insulated from any communal life. That also explains his bizarre preference for recording rather than acting, thus fixing his life in the immediate past in the third person singular. His life is odd and tragic, but if we admit that he cannot avoid being himself, we can better understand who he is and how his affair ended up so quickly. At the narrative``s end, he achieves a kind of moral discovery about himself as well as his affair but that discovery is limited, considering that he is pathologically self-centered.
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