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> 미국소설학회 > 미국소설 > 19권 2호

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 : 19권 2호 (2012)

토니 모리슨의 『자비』에서의 잡을 향한 사유들

권혁미 ( Hyuck Mi Kwon )
미국소설학회|미국소설  19권 2호, 2012 pp. 5-23 ( 총 19 pages)
5,900
초록보기
In A Mercy, Morrison describes the characters`` settling allied with having their own homes before America became a nation. The outcasts of history who represent a range of ethnic backgrounds live on Jacob`s farm. They are orphans who are separated from their families or homes due to their parents`` abandonment or natural disasters. Jacob is the generous man who provides his dependents with a paradise-like residence where discrimination does not exist. However, in spite of his personal good qualities, Jacob becomes corrupt and tries to build a grand third house to boast his rank and riches with the money he profited from slave trading. He dies before the house is completed leaving his wife and dependents in a volatile situation. Rebekka betrays Lina who devotedly cared for her during her serious illness or agony over losing her children. Morrison does not consider Jacob and Rebekka to be the real owner of the place. Rather, Morrison insists that three female slaves have capabilities of having their own homes. Lina criticizes the white Europeans for destroying nature and for oppressing the natives and restores the memory of her past. Florens, who stands on the status of writer, painfully recovers her identity after the blacksmith`s rejection of her love. Sorrow, with her renewed self, is able to live a strong life as a mother. Ultimately, they turn out to be people who can build their own spiritual homes amidst their barren surroundings. A Mercy traces the search for self-identity of people who were alienated and oppressed during the American Colonial Period.

『컬러 퍼플』: 상징적 매개체 분석을 통한 자아각성의 현장, 흑인 공동체 연구

김미아 ( Mi A Kim )
미국소설학회|미국소설  19권 2호, 2012 pp. 25-44 ( 총 20 pages)
6,000
초록보기
This paper aims to look into how black women form their identities under the harsh conditions of racial and sexual oppressions and how they recover their sound self-realization. For this purpose, I analyzed the female characters of Alice Walker`s The Color Purple having the problem of self-negation or self-hate, and reached the conclusion that those problems could be solved through the recovery of the community. The Color Purple shows an aspect of American society at the beginning of the 20th century. Celie, the heroine, is described as an exclusive possession of her patriarchal step-father as well as her husband. The early part of the novel tells us that Celie is physically and mentally abused by both of them. In the process of the story, however, she becomes to restore her physical and mental strength through the help of her female friends. Walker puts an emphasis on the female relationship and cooperation to achieve their liberty in the male centered society. She asserts their sisterhood as the origin of the sagacity and bravery against double suppression of patriarchy and racism. According to Walker, the real community is built up, not based on the definite boundaries of men and women but the concord and the interaction of them.

건국과 미국소설의 발생: 『공감의 권력』에 나타난 훈육의 정치학

손정희 ( Jeong Hee Sohn )
미국소설학회|미국소설  19권 2호, 2012 pp. 45-65 ( 총 21 pages)
6,100
초록보기
This paper examines how sympathy works as an effective medium for producing a consensus between members of the nation in William Hill Brown`s The Power of Sympathy (1789). The text delineates a tragic story of Harrington and Harriot who nearly escape an incestuous relationship because of their father`s wrongdoing. Deeply shocked, Harriot loses her health and dies, while Harrington shoots himself. By warning about the threats of seduction to the family, a microcosm of the nation, and emphasizing the importance of female eduction, the novel emphasizes that the members of the new Republic need to educate themselves into proper citizens, taking an epistolary form, the novel amplifies the educative function through the multiple exchange of letters between the characters, A variety of perspectives presented by each letter-writer produces polyphonic heteroglossia in Bakhtin`s term. However, as the title suggests, sympathy promotes to reconcile disparate standpoints of each letter-writer. Mrs. Holmes and Worthy represent a voice of proper citizens, and function as a center of sympathy and consensus between letter-writers. As a result, the process of producing sympathy turns out to be a process of exerting power over citizens through discipline in Foucauldian sense. Sympathy plays a double role in building a nation as ``an imagined community,`` and exercising power over its citizens. I argue that this project of building a nation and educating citizens properly helps to enthrone The Power of Sympathy as the first American novel.
6,400
초록보기
This essay attempts to reevaluate Shirley Jackson`s Gothic fiction in which the setting plays a crucial role in creating horror. Women characters in her short stories are entrapped in their houses as in the cases of "The Good Wife," "The Story We Used to Tell," "A Visit," and "The Honeymoon of Mrs. Smith"; or, those who are fortunate enough to escape fail in finding their own home as in the cases of "The Beautiful Stranger," "Louisa, Please Come Home," "A Day in the Jungle," and "Bus." This essay contends that these stories reflect the fear and anxiety of women living in postwar America, the Age of the Feminine Mystique, when the image of Rosie the riveter gave way to that of a housewife who is content with her domestic life. This essay also investigates The Road through the Wall, one of the earliest Suburban Gothic texts, to discuss Jackson`s criticism of the walled-off life of the suburbanites and her diagnosis of their fears and anxieties.

Finitude, Death, and Play in Faulkner`s As I Lay Dying

( Kelly S Walsh )
미국소설학회|미국소설  19권 2호, 2012 pp. 91-115 ( 총 25 pages)
6,500
초록보기
In his self-proclaimed tour de force, As I Lay Dying, William Faulkner reveals death to be a transformative force, one that, in its very opacity, constitutes a source of inconclusive and potentially endless mental play. Self-consciously aware that the human mind will never succeed in bridging the caesura between life and death, his novel nevertheless seeks to exhaust itself in attempting the venture. These confrontations between the human imagination and finitude rearticulate (the thinking of) living and dying as near-infinite play, while rendering death just as strange and remote as ever and closure just as elusive. And forced to think using a language in which "words dont ever fit even what they are trying to say at," the irrepressible human desire for wholeness and self-knowledge, along with the attempt to recuperate loss, is perpetually frustrated. Ultimately, Faulkner`s play is reflective of, or analogous to, Derrida`s notion of it, but without the "joyous affirmation" the philosopher draws from it. This play promises, as long as there are words, to defer transcendence or an overcoming that would reveal the limits of our finite condition. In As I Lay Dying, then, Faulkner conveys the suspicion that what remains of our capacity to reinvent the world might very well be play; nevertheless, as his example testifies, the ever-failing search for truth, origin, and plenitude will continue, interminably.

What Happened to Milkman Dead at the Ending of Toni Morrison`s Song of Solomon?

( Jun Yon Kim )
미국소설학회|미국소설  19권 2호, 2012 pp. 117-140 ( 총 24 pages)
6,400
초록보기
This paper aims to make readers reconsider Morrison`s particular use of myth and folk wisdom in her third novel Song of Solomon against a larger cultural backdrop. For this purpose, the first half of this paper makes a comparative approach to the way in which the motif of flying is embedded in folklore and mythology in general and how it is represented in the context of African and African-American oral traditions, The question of why myth-making matters in America is associated with the question of whether an ethnic group is capable of creating and re-creating its own cultural identity. This is the point Morrison attempts to make when she discloses how white supremacy had brainwashed black people into believing that they were an inferior race without their own culture and when she suggests that it is high time for African-American authors to reconstruct the long-forgotten cultural heritage in order to shape their authentic identity. The second half of this paper investigates the development of the relationship between Milkman Dead and Pilate. Song of Solomon can be viewed as an African-American version of Bildungsroman. What is significant here is the questing hero`s close relationship with a culture-bearing mentor. Milkman needs a pathfinder in his African-American rite of passage. It is Pilate, a black female griot figure, who plays the role of educating him in his journey to selfhood and racial past. Their relationship is thus developed into a double-conscious relationship of African mentor and American disciple in the novel`s syncretic narrative structure of myth and history. Following in the tracks of his mentor Pilate, Milkman becomes aware of the ancestors` heritage, the values of community, and even the ethical responsibility for black women. Finally, through a fideistic awareness of how to fly, he takes a sacrifice leap in full view of Guitar, his historical counterpart. This event of a black man`s riding the air can be seen as Morrison`s alternative to the political failure of the numerous social protest novels. Insofar as it is properly accepted, such a miraculous accident is close to what Alain Badiou calls a truth event, which shall end all the African-American sorrow songs.

Patriarchy and Black Female Sexuality in Gayle Jones`s Corregidora

( Joon Gul Paek )
미국소설학회|미국소설  19권 2호, 2012 pp. 141-158 ( 총 18 pages)
5,800
초록보기
Corregidora provides a trenchant and often controversial look into the genealogy of cruelties committed by "phallocentric" patriarchies on black women in the Americas. But critics have focused chiefly on trauma and resistance on the part of black women, leaving oppressive apparatuses of patriarchy largely underexamined. In order to redress such lack of critical concerns, this essay examines the patriarchal institutions of power which transcend both history and racial bipolarity to abuse female subjects. I first investigate machismo and marianismo, the ideological apparatuses of sovereign patriarchal power that characterized the Brazilian plantation system. I claim that these patriarchal apparatuses of power overshadow the ways African American males express their desire and frustration with regard to Ursa and other black women.

Photography in Don DeLillo`s Mao II

( Hye Won Shin )
미국소설학회|미국소설  19권 2호, 2012 pp. 159-176 ( 총 18 pages)
5,800
초록보기
In Don DeLillo`s Mao II, visual media such as photography seem condemned as the very forces destroying human authenticity and individual uniqueness. As image culture is ominously associated with foreigners, terrorists, and women in the novel, DeLillo is occasionally criticized for Orientalism, racism, and sexism. Although he is not free from the above criticisms of xenophobia and misogyny, he also takes a self-ironizing distance from the rise of the society of spectacle in his own country while offering self-reflective, ambivalent representation of the defeatism of a writer. This irony is produced by his juxtaposition between Bill Gray, an aged, impotent novelist, and Brita Nilsson, a professional photographer. Instead of simply blaming visual media for damaging human consciousness, DeLillo acknowledges photography as an artistic medium and a kind of writing, as he uses several photos in the novel to illuminate his prose. Moreover, DeLillo`s ironic distance from Bill`s defeat paradoxically suggests the lasting value of the "old" art form of the novel in the world dominated by multimedia. This essay discusses how the mass media is shown to be the foreign threat to the white male novelist Bill in Mao II. It subsequently illustrates Brita`s photography having a redemptive force giving life to its objects, in contrast with Bill`s abomination of the mass media. DeLillo insinuates that, used by an individual artist, photography can be a productive tool to express the human mind.
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