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> 미국소설학회 > 미국소설 > 24권 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 : 24권 2호 (2017)

『로드』의 형식주의 실험: 장르소설과 미학주의의 변증법적 지양

강의혁 ( Euihuack Kang )
미국소설학회|미국소설  24권 2호, 2017 pp. 5-41 ( 총 37 pages)
7,700
초록보기
Cormac McCarthy`s The Road is an attempt to go beyond the age-long dichotomy of high literature and low culture. On the one hand, the novel problematizes and subverts the conventions of Apocalyptic genre fiction such as the flat and non-artistic prose, the appeal to exoticism, the conflict between good and evil, the restoration of private order (family value) by pushing the very notion of Apocalypse to the point to which the poetic representation of Apocalyptic world erases any trace of civilization. As a result, the commodity aspect of the spectacle of Apocalypse is effectively transformed into the poetics of Apocalypse as exemplified in the father`s literary language. On the other hand, the very literary tradition represented by the father`s language is also ironized by the novel`s parallel structure in which the futility and closedness of the symbolic world constructed by the father`s melancholic eulogy is constantly invoked by the narrator`s objective and flat description of the dynamics that the boy forms through his encounters with the Apocalyptic world. The parallel structure, in other words, demonstrates the allegorical nature of the father`s symbolic construction, and thus reveals the historical limits of the father`s aesthetics and, by extension, of modernist aesthetics. At the core of this dialectical attempt to sublate the genre convention as well as the modernist aesthetics lies McCarthy`s formal experiment where the dialectics of genre and aesthetics, father`s Faulknerian language and the narrator`s objective description, and the representation of the present and the movement towards history is registered.

어니스트 헤밍웨이의 도덕적 가치관의 추이

백낙승 ( Nakseung Baek )
미국소설학회|미국소설  24권 2호, 2017 pp. 43-73 ( 총 31 pages)
7,100
초록보기
This study aims to investigate how Ernest Hemingway`s central ideas develop in his moral values` perspective. The general logical discussion here is based on the evidence that Hemingway`s views of morality evolve from an individualistic one through a humanistic one to an ecological one by three stages. Hemingway has a moral belief that what is moral is what you feel good after and what is immoral is what you feel bad after. His morality can be interpreted as a code of conduct capable of establishing human dignity which makes one feel good after. In the early stage of his writing career, his protagonists such as Nick, Jake Barnes and Frederic Henry tend to follow their individualistic morality in their own ways of solving their disillusionments and anxieties in their struggles to come to terms with a world they cannot possibly understand. In the middle stage, Hemingway`s literary concern is marked by a conspicuous change from individualism to social commitment and humanism deeply influenced by the Great Depression and the Spanish Civil War. To Have and Have Not and For Whom the Bell Tolls dramatically demonstrate the writer`s spirit of social commitment and universal brotherhood. In The Old Man and the Sea of the final stage, the protagonist embodies his mature universal love of all creatures by achieving his ecological enlightenment. Santiago here reaches a loftiest realization in his struggles of life, which differentiates him from the earlier protagonists.

입양서사와 샌프란시스코: 아시아계 미국소설의 새로운 지형

오승아 ( Seung Ah Oh )
미국소설학회|미국소설  24권 2호, 2017 pp. 75-108 ( 총 34 pages)
7,400
초록보기
Recently, new Asian American novels are using the trope of adoption in unconventional ways. Sung J. Woo`s Love Love and Bich Minh Nguyen`s Pioneer Girl both employ the motif of adoption in their plot, yet unlike the representative Asian American literary works featuring adoption such as Gish Jen`s Love Wife, Chang-Rae Lee`s Gesture Life, and Jane Jeong Trenka`s The Language of Blood, they portray cases of homoracial, inter-country adoption. Instead of visiting the country of origin in Asia with questions of biological relatives and reasons for adoption, both protagonists travel domestically to San Francisco in order to explore their identity. San Francisco becomes an intriguing city of origin for both Asian American protagonists who walk the city as flaneur figures with a postmodern sensibility. Kevin Lee in Love Love observes San Francisco as a cosmopolitan city. Lee Lien in Pioneer Girl considers it a place of reinvention in the West. While the history of Kevin`s Korean American birth father belongs to the social and cultural history of 1970s San Francisco, and not to the ethnic histories of Asian America, the adoption mystery of Rose Wilder Lane beckons Lee Lien deeper into an American literary history. As San Francisco is marked as “origin” or “birthplace” on the map of Asian American itineraries, not as destination of Asian migrations, narratives of adoption offered by these novels suggest the changing mode of Asian American literature that interrogates and problematizes the ways in which Asian American identity and experiences are defined, represented, and imagined.

『빌러비드』에 나타나는 재기억의 의미와 가능성

조현경 ( Hyun-kyung Jo )
미국소설학회|미국소설  24권 2호, 2017 pp. 109-138 ( 총 30 pages)
7,000
초록보기
This paper aims to explore the multiple layers in the meaning of rememory in Beloved. Rememory is Morrison`s term for depicting African American`s particular sense of remembering the past, specifically that of slavery. For African Americans, remembering the past is a painful experience because of the horror of slavery. Consequently, African Americans do not want to remember their experience under slavery. The national amnesia which is symptomatic of African American who want to forget the horror of slavery destroys African Americans` life and their relationships. Although African Americans want to forget the past, the past keeps coming back. Although African Americans try to forget the past, the past keeps the pain of slavery. African Americans overwhelmingly re-experience the past at the same level as shock. Under this condition, African Americans` relationships such as between self and the black community cannot be constructive. In order to build a positive relationship and transform the unspeakable past into a memorable one, Morrison examines black people`s possible way of remembering: that is, through rememory. Rememory is a strategy for remembering unbearable horrors which have to be faced. In the novel, rememory is a dangerous act because it directly makes one recall the horror and pain of slavery. However, as African Americans share their experience and past, this horrible and destructive power of memory makes African Ameicans recover their relationship. Morrison does not deny that rememory is an extremely dangerous and painful process for African Americans. However, Morrison also suggests the promising role of rememory by showing the progress of African Americans who successfully go through it. The purpose of this paper is to analyze how the fragmented African Americans` relationships between self and past can be restored through the development of rememory.
6,100
초록보기
Just as the emergence of the novelist Toni Morrison in 1970 can be defined as a Badiouian “event” that breaks with what African-American literature had been before, so too can the fact that she continues to renew her last/latest fiction be seen as a literary event. Morrison published Love at age 72, A Mercy at age 77, and Home at age 81. In 2015, she published her eleventh novel God Help the Child at the age of 84. Fiction writing is a relentlessly time-consuming and brain-consuming job. But like other older writers such as Cormac McCarthy, Philip Roth, J. M. Coetzee, and the late Doris Lessing, Morrison would not stop writing fiction simply because she has aged. To use some key terms from age studies, Morrison does not seem to accept “decline at midlife” as natural. Regarding the relationship between aging and creativity, we need to take a look at what is at issue in literary gerontology. Over the last quarter of the twentieth century, much attention was paid to issues of diversity. At a consequence, “age,” along with the three major analytical categories of race, class, and gender, has similarly obtained minor status as a social classifying device and a determinant of subjectivities. Inspired by scholars of age studies such as Katheen Woodward and Margaret Gullette, this paper analyzes briefly the aged characters of Morrison`s later novels under the rubric of the literary gerontology. Then, focusing on the relationship between age and youth in God Help the Child, I examined the ways in which the novel`s elderly black female characters affect younger ones.

Working Machines versus Living Organisms: The “Man-Woman” in Stowe`s Oldtown Folks

( Joon Hyung Park )
미국소설학회|미국소설  24권 2호, 2017 pp. 161-196 ( 총 36 pages)
7,600
초록보기
This essay explores how Stowe employs the contrasting images of machines and living organisms in Oldtown Folks to represent various types of manhood and womanhood in post-Revolutionary War New England. She compares more self-assertive and oppressive male and female characters to steam engines or working machines; in contrast, she associates more sympathetic, harmonious, and communal characters, who keep the balance between masculinity and femininity or cross over the boundary between them, with plants or livestock. Through these analogies, Stowe not only criticizes belligerent masculinity, which was valorized in the post-Revolutionary period and intensified in her contemporary America by machine-based industrialization and the bloodshed of the Civil War, but also embodies a vision of the organic harmony between ideal manhood and ideal womanhood in characters such as Miss Randall, Parson Avery, and Harry who unify both sexes` virtues. Demonstrating how Sam Lawson, the village do-nothing, personifies Stowe`s ideal of public mothering and parenting by crossing over the boundaries between socially constituted binaries such as work versus leisure and masculinity versus femininity, I also read the novel as a satirical indictment of a society in which these social constructions serve to justify and disguise the selfish, violent, and exploitative traits of aggressive masculinity and materialistic industrialization in the Reconstruction era.

Whiteness in Toni Morrison`s A Mercy

( Mi Ok Sa )
미국소설학회|미국소설  24권 2호, 2017 pp. 197-230 ( 총 34 pages)
7,400
초록보기
Since the rise of critical whiteness studies in the 1990s, scholars from different disciplines have examined how whiteness has been defined, how whites view their white identity, how the ideology and power of whiteness have been supported, and so on. Scholars in American literature have contributed to critical whiteness studies as well. For instance, in Playing in the Dark (1992), Morrison demonstrates how 19th- and early 20th-century white writers constructed whiteness in their works. In addition, she offers a critical perspective on whiteness in A Mercy. In this paper, I examine how the novel challenges whiteness applying critical whiteness theories. To be more specific, I show that Morrison deconstructs the American foundational myth by offering counter-narratives; By presenting pre-racialized slavery, Morrison historizes how racial slavery was legalized for white dominance; Through the portrayal of white double consciousness of Jacob Vaark, Morrison examines the ways in which whites join the oppressive racial system; Regarding Rebekka, she describes the performance of white femininity in maintaining the racial hierarchy. The novel reveals whiteness through black slaves, Florens and her mother as well. By picturing black racial consciousness and their oppressed life, the novel shows the ways in which whiteness construes blackness.

“The Kindness of Strangers”: Paul Yoon`s Cosmopolitan Imagination in Snow Hunters

( Jae Eun Yoo )
미국소설학회|미국소설  24권 2호, 2017 pp. 231-249 ( 총 19 pages)
5,900
초록보기
This paper examines major issues in recent discussion of cosmopolitanism and analyze Yoon`s rendering of cosmopolitan interactions in Snow Hunters. The newly forming cosmopolitanism, distinct from the traditional one that was refined in Western Europe under the influence the Enlightenment, is less antagonistic to nationalism and more focused on gaps, crevices, and overlaps in the national and cultural boundaries. Its goal is to delineate basic ethical responsibility toward political and cultural others while retaining respect for their particular lives. Paul Yoon`s Snow Hunters revises the traditional western cosmopolitanism by focusing on the fluid movements between the positions of a host and a guest displayed by its diasporic main characters. Ultimately, Yoon portrays how, interspersed with and yet counteracting the painful and fragmented memories of Yohan, the traumatized protagonist of the novel, small acts of kindness from strangers and of his own sustain and then heal him.

Benevolent White Femininity and Empire in William Wells Brown`s Clotel

( Seung Hee Lee )
미국소설학회|미국소설  24권 2호, 2017 pp. 251-283 ( 총 33 pages)
7,300
초록보기
William Wells Brown, a fugitive slave who took refuge in Europe, is often taken up as an exemplary black cosmopolitan, but this characterization fails to account for another important cultural discourse he engages: imperialism. In Clotel, the first Afro-American novel published in England, Brown employs the reasoning of the British Empire for his abolitionist cause. By treating empire as an implied context for abolitionism and gender in Clotel, this essay aims to complicate the current understanding of Brown`s contribution to the African American letters. The genealogy to which Brown belongs is not just black cosmopolitanism but also a now-obsolete black thought that casts Empire as the vehicle for racial aspirations. Where the dominant antislavery literary discourse is marked by an imperialist desire to expand the US through the liberated slaves` colonial work in Africa, Brown suggests that the US be under the cultural guidance of the British liberal empire. Slavery puts America in the position of morally backward land that calls for the civilizing influence. A gendered question about who can and should perform such work of civilizing the land of slavery drives the plot of the novel. Through the character of Georgiana, the only liberator in the story, Brown answers to the question and ultimately revises a masculine politics of abolition by offering a feminine alternative.
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