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> 영미문학연구회 > 안과밖 > 36권 0호

안과밖검색

In/Outside : English Studies in Korea


  • - 주제 : 어문학분야 > 영문학
  • - 성격 : 학술지
  • - 간기: 반년간
  • - 국내 등재 : KCI 등재
  • - 해외 등재 : -
  • - ISSN : 1226-3761
  • - 간행물명 변경 사항 :
논문제목
수록 범위 : 36권 0호 (2014)

책머리에 : 4월, "다판다" 주식회사 대한민국의 밖과 안에서

정은귀
영미문학연구회|안과밖  36권 0호, 2014 pp. 2-11 ( 총 10 pages)
4,000
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특집 : 한국의 셰익스피어 수용과 연구의 현단계 ; 움직이는 석상과 셰익스피어의 문화전쟁

이종숙 ( Jong Sook Lee )
영미문학연구회|안과밖  36권 0호, 2014 pp. 14-42 ( 총 29 pages)
6,400
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Real Presence was a question at the heart of the iconoclastic debates and violence that erupted in the English Reformation and the periods following it. The iconoclasts participating in the debates sought to prove the Roman Catholic belief in Real Presence false, and thereby to desacramentalize the relationship between matter and spirit, body and soul, presence and absence, or representation and original. I argue the terms of those debates are incorporated and explored in the poetry of love, secular and sacred, produced in the post-Reformation period. Shakespeare`s “absence-sonnets” for example, reveal a deep-seated anxiety about idolatry, particularly through the figure of the sonneteer-lover who, driven by his scopic desire, creates an absent-present ‘body’ out of the absence of the beloved, and thereby serves to expose how easily latria can slip into dulia into idololatria. Shakespeare further explores, in The Winter`s Tale, the dangers inherent in the sonneteer-lover`s scopic desire, transforming the Ovidian myth of Pygmalion into a story of Pygmalion`s image into a story of Leontes`s petrifying and idol-making desire for absolute possession and absolute presence.

특집 : 한국의 셰익스피어 수용과 연구의 현단계 ; 칼 슈미트의 정치신학과 『햄릿』

김영아 ( Young Ah Kim )
영미문학연구회|안과밖  36권 0호, 2014 pp. 41-71 ( 총 31 pages)
6,600
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Political theology is a distinctly modern problem as it takes seriously the recurrence of religious patterns that continue to animate forms of political thinking and organization in the modern world. What prompted the current focus on political theology was the end of the Cold War, which brought with it not the victory of the liberalism but a resurgence of religious fundamentalism and a war on terror justified as a holy cause. It was in this context that intellectuals have begun to probe with vigor the theological underpinnings of the modern state. Shakespeare`s dramas and his period have played an important role in modern recurrences of political theology as the 16th and 17th centuries witnessed “the entanglement of the political and the theological” our of which modern concepts of politics were born, and his dramas are the records and the exploration of the historical transition. Then how do Shakespeare`s dramas help to explain the character and persistence of political theology in modernity? How does the reemergence of political theology in the 20th and 21m centuries help to reshape our understanding of Shakespeare`s period and dramas? This article aims to answer these questions by reading Carl Schmitt`s Hamlet or Hecuba. Schmitt is one of the modern thinkers who have investigated the persistence of religious forms within a modern political order founded on the neutralization of religion. According to Schmitt, theology and the modern state have the same systematic structure, whose salient feature is its dependence upon a certain transcendence. He criticizes the liberal theory of the state for effacing the originary relationship of the political to transcendence and insists that the rule of law ultimately hinges on an act of violence in the state of exception. In Hamlet and Hecuba, Schmitt turns to Shakespeare in order to elaborate his own political theology by reading Hamlet as a “counter-myth of early modern politics,” which calls for the Sovereign`s decision in the face of the secularization of politics. There is, however, an ambiguity or lack of logic in Schmitt`s reading of Hamlet, which also reveals the aporia of his political theology, and behind this lies Hamlet which shows us not the necessity of the Sovereign`s decision but the impossibility of it.
6,100
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This essay inquires into the implications of the so-called intercultural theater, examining Oh Tac-Suk`s The Tempest (Mokwha Repertory Company) and its reception in the international theatre market. Created for the 2011 Edinburgh International Festival themed as “The Far East,” Oh`s The Tempest is every inch a Koreanized spectacle, from its setting, character names, costume and properties, to songs, dance and rituals. The production was well received as a successful fusion of Shakespeare and Koreanness. However, Oh`s truncated version does not do Shakespeare justice, neither in terms of poetic language nor complex psychology. Oh uses Shakespeare as a vehicle to display Korean culture and tradition rather than using Korean elements to decorate Shakespeare. Oh`s freedom from bardolatry signals the post-Shakespeare phase in Korea: Shakespeare is revered more for his global currency than literary merit. However, Koreanness in Oh`s The Tempest can be also questioned for its lack of authenticity and historicity. Intercultural theatre offers non-Western directors a space to affirm their national culture, yet at the risk of falling prey to global capitalism. Oh`s The Tempest shows what a difficult feat it is to be truly “intercultural”.
6,000
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This essay reminisces on Suyunomo R`s writing on the edge. In the process, this essay examines how writing and reading can be more than a private experience and provide the field of communal interaction. The new kind of writing prompted by communal reading involves the transformation of life into words and creates an ethical space. Students awaken to new sensations as they recite poetry by heart or as they read texts from literature, philosophy, history, and sociology. Through the uselessness of poetry, students experience the useful deconstruction of the self. Writing involves the distillation of experience and requires one to reflect on the chaos of everyday life. The sharing of writing allows the participants to realize the value of every piece of writing and the possibility of re-signification inherent in each existence and struggle. In that sharing, the participants experience the revolutionary potential of reading and writing.

쟁점 : 인문학의 새로운 전선, 읽기와 쓰기의 "공동체"를 찾아 ; 문학상담에 대한 몇가지 단상

진은영 ( Eun Young Jin )
영미문학연구회|안과밖  36권 0호, 2014 pp. 118-143 ( 총 26 pages)
6,100
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Literary counseling is the practice of restructuring self narratives and reflecting on oneself through the receptive component of Bibliotherapy and the expressive component of Poetry Therapy. In the past, literature was defined primarily as poiesis or the act of evaluating value by assessing the end result. However, literature can also be defined as praxis, a process that accrues meaning in itself. This new definition is based on Hanna Arendt`s distinction between “work” and “action.” Literary counseling combines Arendt`s definition of literature as praxis and Irvin D. Yalom`s theory of counseling. Counseling in literary counseling is more than the expression of support and sympathy for the subject in pain. literary counseling seeks to prod the client to search for the fundamental causes of the problems he or she is experiencing. As the counselor and the client work together, they attempt to confront the existential condition with courage and recognize the social and historical context that gave rise to the problems. Reading of literary texts plays a key role in this process of confrontation and recognition. The client can then attempt to restructure his or her Self by giving metaphorical expression to the Self and the problems. The performativity of literary expression can result in the metamorphosis of the subject. This involves not only writing but the sharing of writing, the giving of feedback either between the counselor and the client or between clients (in the case of group therapy). Literary counseling prompts pained subjects to actively express themselves and relate with others, allowing them to make themselves visible and in this process realizing literary democracy.
5,500
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시평 : 대학 구조조정과 평가 ; 대학의 관리체제와 대학의 몰락

고부응
영미문학연구회|안과밖  36권 0호, 2014 pp. 163-186 ( 총 24 pages)
5,900
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재조명 : 비평가의 평가와 책임 마이클 벨의『문학과 모더니즘 그리고 신화』를 중심으로

유희석 ( Hui Sok Yoo )
영미문학연구회|안과밖  36권 0호, 2014 pp. 187-219 ( 총 33 pages)
6,800
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This paper purports to introduce Michael Bell`s Literature, Modernism and Myth in two directions: Michael Bell as an analytic successor of F. R. Leavis as well as a diagnostic interpreter of modernism in twentieth-century literature. In the course of elaborating on its key words ‘literature,’ ‘modernism,’ ‘myth,’ this essay critically clarifies Michael Bell`s elucidating thinking on the mythopoeic characteristics of creative modernists across Europe, North America, and South America. Being subtitled “Belief and responsibility in the twentieth century,” Literature, Modernism and Myth is a potentially compelling text to the readership of the humanities in general in that it leads us to radically rethink literary modernism as a historically constructed-especially via Nietzsche-category while interrogating the role of literary critics in modern society.

포커스 : 심미주의자로 살아남는다는 것 모신 하미드와 신자유주의 시대의 글쓰기

김석 ( Suk Kim )
영미문학연구회|안과밖  36권 0호, 2014 pp. 219-235 ( 총 17 pages)
5,200
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At a time when the once clamorous postmodern debate sounds like a thing of the distant past, an event moreover best left that way in the eyes of many, aspiring to ``make it new`` in the vein of Ezra Pound may seem like an unlikeliest, if not downright misguided, endeavor. How to Get Filthy Rich in Rising Asia (2013), the third novel by the Pakistani writer Mohsin Hamid, challenges that historicist commonplace in at least two respects. For underneath the generic parody of self-help conventions foregrounded by the text, even the most jaded reader would discover what still makes great literature great: namely, the affective power of (a) narrative voice/s and the singular mark of sensibility that transcends every question of style, two factors already foreshadowed, in fact, at the level of the text title which displays in full view snobbism at its rawest manifestation alongside various dichotomies (sociohistorical, geopolitical, etc.) preconditioning it. That this ingenious effect turns out to be no result of a blind luck is attested by Hamid`s previous work, The Reluctant Fundamentalist (2007), whose title once again poses the question as to what really is the more fundamentalist of all fundamentalisms: indeed, is it not our own unwavering faith in the so-called capitalist ``fundamentals``-however marred or bolstered by our begrudged cynicism-the most trenchant of all ideological fixations? In comparison, Hamid`s first novel The Moth Smoke (2000) would seem to reascertain Wilde`s dictum which proclaims practice always precedes perfection. Yet, even in that initiatory outtake where poetic intermittently soars above the prosaic, the two highlighted motifs of SUV (Sports Utility Vehicle) and boutique come alive to effectively problematize the fetishist logic underpinning the globalized condition of mass consumption, thereby paving the way for the burgeoning trajectory of one extraordinary literary career. But then, to revert to our initial analogy of literary lineage, this uncompromising creative effort which bears the name Mohsin Hamid would appear to have more in common with the spirit of Paterean aestheticism than that of garden-variety modernisms, for as Hamid`s writings avowedly and repeatedly make it clear, the temporal index of the ongoing ontological battleground known as the neoliberal order will have once again revolved around the moment in its sheer implosive potential rather than the quotidian as such which, for all intents and purposes, appears to have lost its residual aura qua configurative unit.
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