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> 미국소설학회 > 미국소설 > 23권 1호

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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 : 23권 1호 (2016)

『 인간의 오점 』에 나타난 패싱의 재현

김영미 ( Youngmee Kim ) , 이명호 ( Myungho Lee )
미국소설학회|미국소설  23권 1호, 2016 pp. 5-30 ( 총 26 pages)
6,600
초록보기
Philip Roth’s The Human Stain represents a black racial being named Coleman Silk who attempts to pass for a white in the 1940s and had successfully led his life for 40 years. What is notable for his passing narrative is that he passes not for a WASP but a Jew. This complicates his subject position, which can open a possibility for a new third subject position. But he internalizes the white male patriarchal ideology and firmly believe in American individualism. For racial passing, the dominant whites tend to see it as a deception and a kind of threat to white powers, while African Americans show more complicate and ambiguous response to it. On one hand African Americans regard passing as a betrayal to one’s ethnicity, on the other hand they think it can be a subversive strategy to white powers, questioning the racial category of ‘whiteness’ and ‘blackness.’ In this novel, Coleman’s passing is positively represented by the narrator Nathan Zuckerman, a Jewish writer and Coleman’s sister Ernestine. Ernestine tells Coleman’s passing was meaningful in its own way although Coleman’s other family members criticise it as a betrayal and an egocentric pursuit. Ernestine’s positive perspective to Coleman’s passing is closely related with her point of view which is distanced from the ‘politically correct’ position in the 1990s which focuses on minority subject position. She advocates the Western humanistic tradition like her brother. Zuckerman shares Ernestine’s perspective and he also admires Colemnan’s passing life. Although he mentions Coleman’s passing includes the savage sin to his mother and his ethnic community, he shows more sympathetic view for him as a passer. He is trying to construct Coleman’s story as an American story of self-creation. He even compares Coleman’s passing to an artistic activity to invent oneself. This kind of Zuckerman’s perspective has a danger to weaken the meaning of race in an American society. Considering that a contemporary American society is not fully free from racism, the exploration of the complex meaning of race is still significant. This novel does not fully represent the meaning of race.

헨리 제임스의 『미국인』: 뉴먼의 자기확신과 인식적 한계

문영희 ( Younghee Mun )
미국소설학회|미국소설  23권 1호, 2016 pp. 31-58 ( 총 28 pages)
6,800
초록보기
This paper aims to examine the way that American businessman Christopher Newman experiences and interprets European culture and people with his own confined perspectives in The American. The hero cannot be acknowledged and accepted by the aristocratic Bellegardes, not only because the family judges Newman by his social status but also because he has a lack of manners and a weak grasp of the complexity of deeper human values. Above all, Newman is throughly limited by his commercialistic assumptions and self-assurance based on his strong confidence in the power of his wealth. In addition, he does not react to the new cultural environment flexibly, and he holds fast to the optimistic belief that the world is for his taking and tries to apply a ‘black and white`` moral principle by force. As a result, his self-reflection and the possibility of the perceptive growth are confined, and his experiences do not give an impetus to the active development of perception. Furthermore, the main causes of Newman``s perceptive failure also come from deficiencies of moral imagination and sensibility.

린다 수 박과 미국 아동문학의 전통

오승아 ( Seung Ah Oh )
미국소설학회|미국소설  23권 1호, 2016 pp. 59-88 ( 총 30 pages)
7,000
초록보기
The winner of 2002 Newbery Award and second-generation Korean American, Linda Sue Park has been acclaimed as one of today’s best multicultural children’s writers. Her Korean historical novels, including A Seasaw Girl, A Single Shard, and When My Name was Keoko, have been selected for educators’ and children’s reading lists and awarded numerous honors for their nurturing multicultural literacy. This paper, however, problematizes the prevailing tendency to celebrate an ethnic writers’ feat by focusing on his/her ethno-racial background, attempting to shed light on Park’s “American” literary and cultural identity via her complicit relationship with American children’s literature both as an avid reader and unrecognized literary descendant. Contrary to the readers’ expectation, Park’s typical suburban upbringing in Midwest America constitutes a remarkable readerly and writerly agency which is more proficient in American literary legacy and imagination versus Korean. Her deeply ingrained understanding of American children’s literature such as Laura Ingalls Wilder is embedded within her own themes of female bildungsroman. Park’s later writings with protagonists other than Asians and Asian Americans-Keeping Score, A Long Walk to Water, and collaborative works such as 39 Clues, Click, and The Chronicles of Harris Burdick-both reenact and subvert American children’s literature, further interrogating and complicating the notion of American identity, and American literature and literary heritage.

『 위대한 개츠비 』에 나타난 황무지로서의 현대사회에 대한 인식 연구

이경화 ( Kyeong-hwa Lee )
미국소설학회|미국소설  23권 1호, 2016 pp. 89-112 ( 총 24 pages)
6,400
초록보기
In The Waste Land T. S. Eliot describes the devastation of the Western civilization after World War I and the resulting spiritual death. Eliot thinks that modern people are alive physically but dead spiritually in the sense that having lost their faith in Christianity and the traditional values, they live their lives aimlessly. In writing the poem, Eliot used Fisher King’s story and the Grail Legend as a basic framework. Therefore, in The Waste Land a quester named Tiresias seeks for the Grail to revive the devastated modern society. Eliot had great influence on so many writers including F. Scott Fitzgerald. Therefore, it is not difficult to find the symbol and theme central to Eliot’s The Waste Land in The Great Gatsby. For example, a valley of ashes, the town covered with gray ashes, is the dusty and barren image of modern society. In this way, it becomes the replica of Eliot’s wasteland. Eliot’s theme of the spiritual death and the revival is revealed in the novel through the characters. Tom, Daisy, Myrtle, and Jordan are dead spiritually in the sense that they feel inner emptiness and then they seek pleasure in order to fill their inner emptiness. They also show the deterioration of social values and the resulting emphasis on materialism after World War I. Gatsby is described like a quester. He pursues his noble vision throughout his life, which is manifested in his love of Daisy. Nick finds in his vision his faith that his love of Daisy can transform such a wasteland-like society into a fresh and green land. However, Daisy, rather than brings life, brings death. She hits Myrtle with Gatsby’s car, and arouses Tom’s jealousy to make him kill Gatsby. At last, Gatsby is killed in his swimming pool waiting for Daisy’s call. His death brings rain to the scorched land of Long Island, but it does not bring resurrection to modern society.

흑인여자노예의 대항서사: 셜리 윌리암즈의 『데싸 로즈 』

이승은 ( Seungeun Lee )
미국소설학회|미국소설  23권 1호, 2016 pp. 113-144 ( 총 32 pages)
7,200
초록보기
Dessa Rose by Shirley Anne Williams is one of the neo-slave narratives which revisit slavery and revise the traditional slave narratives as well as the master narratives of slavery. This paper attempts to read Dessa Rose in terms of a powerful counter narrative of a black slave girl. In the first “The Darky” section Dessa disrupts the master narrative dominated by the racist white male writer Adam Nehemiah who wants to “read” her, that is, to find out the cause of slave uprising through interviews with her. Instead of giving what Nehemiah wants, Dessa tells who she is by repetitiously mentioning memories of her beloved husband Kaine. In examining the driving forces which enable Dessa to endure in horrible whipping and brutal circumstances of confinement and finally to escape for freedom, the author puts emphasis more on Dessa’s assertion of herself as a “mother” against the master narrative, which deprives female slaves of motherhood, than on the romantic love of Dessa and her husband Kaine. In particular, Dessa``s search for freedom and female subjectivity is completed by her bonding with a white woman, Rufel, and the nurturing of black community. In this respect the liberating relationship dismantles the racial and sexual boundaries; it is a way of fulfilling a black female slave subjectivity. Unlike the master narrative voices of Nehemiah and Rufel, who are eventually consumed by the omniscient narrator, Dessa completes the counter narrative of a black female slave subject by having her grandchildren dictate her narrative as well as acquiring her own narrative voice.

Faulkner`s Go Down, Moses: Racialized Space and Destabilizing Hybridity

( Sun-ok Kim )
미국소설학회|미국소설  23권 1호, 2016 pp. 145-165 ( 총 21 pages)
6,100
초록보기
This study aims to explore the possibility of hybridity as a subversive power destabilizing the racialized space represented in Faulkner``s Go Down, Moses. The historical Southern space where Go Down, Moses is set in the time period of the 1830s to the 1940s is a racially segregated physical place, a socioeconomic and political geography of slavery and racial segregation, and a cultural space for the construction of racial and sexual identities. Faulkner explores the possibility of resistance and subversion of hybridity destabilizing the rigid racial boundary of the racialized space through the mixed-race characters. Hybridity has a subversive power destabilizing racial domination as the ‘Third Space`` where a new identity emerges. In Go Down, Moses, mixed-race characters`` hybridity acts as a sign evoking whites`` historical sins and immorality of enslaving their children, brothers, and relatives, hence undermining the moral basis of white domination over blacks. Apart from this, hybridity creates new hybrid subjects who resist white power in various ways, thereby destabilizing the hierarchical racialized space.

Dictating Masculinities and Its Discontents: Junot Diaz’s The Brief Wondrous Life of Oscar Wao (2007)

( Soo Yeon Kim )
미국소설학회|미국소설  23권 1호, 2016 pp. 167-191 ( 총 25 pages)
6,500
초록보기
Winner of the Pulitzer Prize, The Brief Wondrous Life of Oscar Wao is not easy to summarize; it crisscrosses time and space, from the 1940s Dominican Republic to the 1990s Paterson, New Jersey, and interweaves the story of Oscar, Dominican American “fat” “nerd,” and his other family members. Narrated by an unnamed narrator, Oscar Wao moves back and forth between the horrifying lives in the DR under dictatorship and Oscar’s quest to lose virginity-both sad and farcical-to become a “Dominican” man. In addition to tortuous plots, Diaz’s novel presents a gala of narrative techniques, such as untranslated Spanish, footnotes on Dominican history, and numerous “otaku” references to sci-fi and fantasy. While the novel’s title suggests a link to Oscar Wilde, the author has little interest in gay themes or queer desire. Using the curious absence of the Wilde reference as a jumpstart, the first part of the essay examines how the author’s correlating of narrative and power via masculinity risks perpetuating the reductive notion of dominant masculinity. The second half of the essay tackles the novel’s “wondrous” ending. Oscar falls in love with an aging prostitute, makes love to her, and is shot to death by her boyfriend’s thugs. The “little intimacies” Oscar discovers on the novel’s last page paint his violent death as meaningful and even wonderful. Despite Diaz’s emphasis on intimacy as an antidote to hyper-masculinity, however, I argue that this romanticized ending reproduces a heterosexual fantasy. Inasmuch as it fails to open up a queer realm of love which resides outside the “grand narrative” of heteronormative relationship, Oscar Wao’s cliched ending compromises the radical rethinking of history, form, and narrative successfully undertaken throughout the novel.

The Complexity of Satire in Tabitha Gilman Tenney`s Female Quixotism

( Mi Ok Sa )
미국소설학회|미국소설  23권 1호, 2016 pp. 193-219 ( 총 27 pages)
6,700
초록보기
Charles Knight argues that women satirists were barely found until the 20th century because of two facts. First, during the 18th and 19th centuries women could not access the public sphere and consequently couldn``t write satire which is essentially related to public issues; Secondly, since satire is a kind of masculine genre aimed to attack other people or public matters, it was unsuitable for women to write it. In opposition to Knight``s argument, in this paper I argue that despite of their unaccessibility to the public sphere, 19th century women writers satirized public issues in their novels. As one example of this, I demonstrate that in her work, Female Quixotism, one of the first American women writers, Tabitha Gilman Tenney, satirizes public issues such as unfair female education that does not allow women to get formal education as men do. Furthermore, she critiques the unfair marriage system that denies women``s property rights, which ultimately results in women``s subjugation. Through the duality of satire in this work, Tenney possibly deals with public discourses without directly accessing the public sphere. That is, on the surface, through the heroine Dorcasina, who reads romantic novels excessively, which leads her to misreading her false suitors as true ones, Female Quixotism satirizes female novel reading which was the trend at that time. As an undercurrent, Tenney attacks the unfair marriage system that usurps women``s property rights and unjust female education that confines women to the domestic sphere by focusing on the education of “Republican Motherhood.”

Louis the Plantation Owner: The Haunting of Vampiric Slavery in Interview with the Vampire

( Ki Yoon Jang )
미국소설학회|미국소설  23권 1호, 2016 pp. 221-247 ( 총 27 pages)
6,700
초록보기
Anne Rice’s Interview with the Vampire is now considered a groundbreaking work of fiction that humanizes the typically demonized and otherized image of vampires and assigns a sociocultural role of embodying moral and sexual ambiguities in contemporary America. Yet most consider Rice’s vampire characters as glamorous and stylistic modern flaneurs. Rejecting that general consideration, this essay aims to read the novel anew in light of its historical and geographical setting of late-eighteenth-century American South. The essay focuses on the consistently disregarded fact that the main character and first-person narrator Louis is originally a plantation owner in Louisiana, and examines his endeavor to achieve the absolute authority of that identity through his encounters with other vampires and humans. By exposing the futility of such endeavor, this essay ultimately sheds light on Rice’s intention of proposing a vampiric relationship as a productive and even necessary model of life in multicultural and multiracial America.

In Charlie Chan`s Shadow: the “Interested Disinterestedness” of Race in Over the Shoulder

( Hyeyurn Chung )
미국소설학회|미국소설  23권 1호, 2016 pp. 249-272 ( 총 24 pages)
6,400
초록보기
This essay aims to examine the figure of the “Asian American detective” in Leonard Chang’s Over the Shoulder. I address in particular the various ways in which Chang attempts to confront the shadow of Charlie Chan, the emasculated and exoticized stereotype of Asian American masculinity. For one, Chang tries to remasculinize his detective-hero Allen Choice by reframing Asian American masculinity within the “hard-boiled” detective genre, wherein the tough guy protagonist embodies all-American normative figure of hegemonic masculinity. However, I contend that simply placing his protagonist in the tradition of hard-boiled detectives proves to be insufficient as Chang tries a different way to recuperate Allen’s manhood: by diluting the significance of race and ethnicity so that Allen may finally move out of Charlie Chan’s shadow of racial stereotyping. Ultimately, I argue that it is critical that we closely investigate what may be at stake for Chang (and his protagonist) in trying (somewhat in vain) to undermine the significance of race within a genre whose bias against nonwhites ultimately reinforces the staying power of the racist discourse in America.
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