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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 3호 (2010)
7,200
초록보기
Whiteness as a counterpart of Blackness is an invention and a pretense that white people are superior to black people in every way. However inaccurate and untrue, whiteness has been considered Americanness since it was constructed in the South after the Civil War. Many white Southerners had a fear of losing their masterhood over ex-slaves, so it was extremely urgent to find a new way to craft new racial orders such as one drop rule, culture of segregation, racial etiquette, black beast rapist myth, mammy myth, Old South myth. These entire methods to keep blacks in their `place` were throughly entrenched, taking full advantage of the threatening systems and the ultimate menace of lynching. This oppressive and terrifying Southern Way to control freed blacks and establish white superiority at all costs was adopted as the American Way following the First World War. William Faulkner represents whiteness as terrifying and terrorizing in Go Down, Moses and Light in August, which cover from the antebellum South to the modern South in 1940. In Light in August, the Jefferson community defines Joe Christmas as a black, lynches, and finally castrates him, alleging him as a black beast rapist, even though it is not certain that he is really a black. In Go Down, Moses, Isaac McCaslin repudiates his patrimony to expiate ancestor`s wrong and shame. Most of all, his ancestor`s wrong is related to a slave named Eunice and her descendents. Lucius Quintus Carothers McCaslin and its people, namely, the South in microcosm. The significance of the definition of who is black and the unique history of black-white relations in the South show that race as well as racism is a conceptual and historical construct.

제프리 유제니디스의 『미들섹스』를 통해서 본 초국가적 주체의 가능성

송은주 ( Eun Ju Song )
6,700
초록보기
Jefferey Eugenides` Middlesex raises the issue of transnationalism and transgender through the combination of Greek immigrant narrative and the narrator, Cal, so called `hermaphrodite`s` buildungsroman narrative. Lefty and Desdemona Stephanides, the first generation immigrants fail to be assimilated into American subject. Although Lefty gets a job from Ford company and tries to be a `perfect American citizen`, he cannot go into American mainstream society, whereas Desdemona rejects to accept American subjectivity and remains an "eternal exile" to the end. The failure of the first generation reveals the way American national culture operates to separate and exclude inferior or inadequate immigrants. Milton Stephanides, the Second generation represents himself as a "perfect American", and to fulfill it he adopts the strategy to differentiate himself from African-American and mainland Greek people. His attempt to deny and erase the effect of transnational relationships embedded in his life leads to disruption and fissure in his being. Cal(liope), the third generation has 5-Alpha-Reductase Pseudohermaphrodites caused from the frequent incest tradition. He crosses the border between genders as his grandparents crossed the border between nations. This analogy raises an objection to the absolute of borders to circumscribe subjectivity such as nationalities, genders, ethnicities, etc. Although Cal chooses to perform the straight-man, he still contains the contradictory and discontinuous elements within his self and it makes him unstable and changeable diaspora subjectivity.

미적 가치와 여성성의 교착 피그말리온 신화를 넘어

윤조원 ( Joe Won Yoon )
6,500
초록보기
The myth of Pygmalion is a classical instance of male desire to mold femininity into men`s aesthetic ideals. It also illustrates how the creature embodying the male notion of ideal feminine beauty ultimately dismantles the structure of epistemological binarism. Many discursive variations of the Pygmalion myth are found in turn-of-the-century America and Europe, where the commodification of art and women centered around the bourgeois male subject`s conflation of femininity, aesthetic value, and the notion of beauty. I revisit Pygmalion`s story in an attempt to deconstruct layers of gender politics embedded in the myth. A close reading of the myth provides a relevant frame of reference for uncovering Pygmalion`s prototypical impulse for aesthetic idealization of the feminine and also for reconsidering the reinforcement of the cult of feminine beauty in the burgeoning modern consumer culture of the turn-of-the-century. Numerous literary works incorporate the motif of Pygmalion, reflecting the persistence of the myth`s archetypal gender dynamics as well as a perceived necessity for a critical intervention thereof. I turn to Edith Wharton`s tale "The Daunt Diana," for it redefines the nature of artistic experience by revising power relations traditionally ascribed between the aesthetic/feminine object and the masculine artist/collector. Through its revised Pygmalionic paradigm, Wharton`s story envisions a sexual and aesthetic relationship that resists phallocentric proprietary desire to shape, confine, and control femininity.

번역, 이산 여성주체의 이언어적 받아쓰기 -테레사 학경 차의 『딕테』

이명호 ( Myung Ho Lee )
6,300
초록보기
This paper aims to read Theresa Hak Kyung Cha`s Dictee, focusing on the translating activity across different languages and cultures. Sakai Naoki`s definition of translation as the act of heterolingual address to others in different cultural and linguistic communities opens the way of thinking seriously of "disjunctive" moments in the performance of translation. Translation in this sense is not a transparent communication of meaning between source and target languages but a cultural practice of making differences through repetition, thereby deconstructing the myth of national language as pure, homogeneous, and complete. Dictee is a work that interrogates the meaning of translation performed by a Korean American female immigrant subject. The novel depicts a Korean American immigrant girl`s attempt to learn English through dictation, a process of learning foreign language that one mimics its speech without meaning anything. A speech act without meaning makes dictation similar to translation, usually understood as a mechanical active work. Translation as a hybrid cultural practice, however, is not a mechanical movement without the subject`s transformation; neither is it a one-sided assimilation into the target language nor a return to the source language, but a perpetual motion of search for new meaning in the "in-between" space of the two languages, transforming the subject itself. This paper attempts to read this hybrid translation as a strategy through which a Korean American female creates diasporic subjective space, irreducible either to dominant American culture or to Korean nationalist culture. Dictee remembers and collects the traces of female subjects across East and West cultures, erased in the dominant patriarchal history, and constructs a female genealogy from mothers to daughters.

다인종사회의 형성과 미래 -야마시타의 『오렌지 회귀선』을 중심으로

이수영 ( Soo Young Lee )
6,400
초록보기
In Tropic of Orange (1997), a sansei writer Karen Tei Yamashita discusses the comprehensive transnational imagination, dealing with discourses about the US-Mexico border and Asian American issues within the frameworks of globalization and migration. In her writing, she uses an outstanding metaphor, which is the movement of the Tropic of Cancer into Los Angeles through an orange. The Tropic of Cancer is an invisible line of latitude passing through Mexico, so its movement symbolizes the expansion of US-Mexico borderland where cultural hybridity and migrants` identity are established. Therefore, this metaphoric movement also implies the multicultural landscape of Los Angeles is caused by the migration from the south. In this work, she explores this changing landscape of Los Angeles through the lives of the seven characters of different ethnic and class backgrounds. However, she neither criticizes the globalization phenomenon nor what the future of Los Angles might be. Rather, she is just bringing into the light those who have been invisible in Los Angeles even though they are playing a central part in the changes of this global city. In this regard, this paper will focus on two things; the landscape of Los Angeles and what it means to live in Los Angeles. This paper will first analyze the structure of Los Angeles that segregates migrants from the white middle class in the process of the development of capitalism, because this structure makes the real landscape of Los Angeles invisible. Then, the investigation of "what it means to live in Los Angeles", will examine the ways that each character is searching his or her identity through the methods of globalization like electronic media and consumption.

지구화 시대 작가로서의 실코 -『의식』에 나타난 정치성 다시 읽기

전계안 ( Kye An Cheon )
7,300
초록보기
In this globalized socio-cultural space, the decrease in the traditional rigidity of the borders of nation-state and the increase in exchange of both human and economic across the territorial boundaries, have changed the modern concepts of race, nation, and state. And also, hibridity, which supposes the translation between cultures without hierarchy, has become the essential condition, regarded as the positive direction of the globalization. Globalization and hybridity, however, are not necessarily positive socio-cultural phenomena for the people who had large experience of colonial period as well as for the local minorities. Those phenomena are cultural homogenization stemmed from the neocolonial intention of neoliberalism for its political, economic and cultural dominance. So, some claims that they need to be reconsidered in the historical and realistic contexts in order to readjust globalization and hybridity generally directed by dominant culture. Silko`s Ceremony, although regarded as `ahistorical` by most critics, deconstructs the modern concept of nation in the historical and realistic contexts and tries to reconstruct that of new community based on the `indigenous consciousness` of native Americans. And it re-exams the hybridity discourse that excludes cultural essentialism, disclosing the real meaning of the mixed blood as a symbol of cultural hybridity. Silko`s new community based on the indigenous consciousness is important in globalized and post-national space, because it can be identified with the local, especially indigenous local as the new community that can resist to the wrong-directed globalization. Beginning in Ceremony, the concern for the indigenous local has continued in her later works, Almanac of the Dead and Gardens in the Dunes. Therefore, Silko needs to be reestablished as a contemporary writer who realizes the neocolonial aspect of globalization as well as that of multiculturalism and tries to search the alternative globalization against it.

집과 여성: 이디스 워튼의 『연락의 집』을 중심으로

정혜옥 ( Hae Ok Chung )
6,700
초록보기
This article aims to demonstrate Lily Bart`s efforts to find her own house, where she can find a "grave and endearing tradition and the real relation to life." Edith Wharton probably was able to more realistically recognize what a house meant to people because she had her own experience of building her mansion, the Mount and publishing The Decoration of Houses. She tries to define the identity of a woman with the concrete metaphor of a domestic house. Lily, standing between a sentimental traditional heroin and a modern independent woman, tries to establish her own identity through the efforts of finding `her own room,` but she fails to achieve independence because she was "raised to be ornamental." Lily moves through different houses in the novel. On one end of the spectrum there is Mrs. Peniston`s house, a home of past, and at the other end, there is Norma Hatch`s showy and trendy hotel. In between these two extremes, there are also the theatrical mansions of the leisure class, the cozy apartment of Lawrence Seldon, as well as the nostalgic romanticized working-class tenement of Nettie Struther. Lily seems to feel most at home in the mansions of her `old set,` but these mansions can never provide the home she eventually comes to yearn for. Lily is incapable of finding a home in any houses she moves in and out of until the end of her life. At the end of the novel, Wharton introduces a house of Nettie Struther, a typist whom Lily once helped, as the idealistic home where Lily finds for the first time `the central truth of existence` in her life. Wharton creates a classic sentimental image of home with Nettie`s. Although this ending has been criticized as too sentimental as well as abrupt, Wharton imagines not a woman being confined at home, but a more egalitarian, companionate marriage within Nettie`s home. This is an ideal, however, that is too far in the future for the homeless Lily Bart.

서평 : 나 자신의 노래

류선모
5,300
키워드보기
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