글로버메뉴 바로가기 본문 바로가기 하단메뉴 바로가기

논문검색은 역시 페이퍼서치

> 미국소설학회 > 미국소설 > 25권 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 : 25권 2호 (2018)

인종과 포스트휴먼: 비판적 분석

김준년 ( Junyon Kim )
미국소설학회|미국소설  25권 2호, 2018 pp. 5-32 ( 총 28 pages)
6,800
초록보기
My critical analysis of race and the posthuman examines the problems and limitations of the current posthuman discourse and its conceptualization of posthumanism from a revisionist perspective on humanism and humanity. Three assumptions are required for this purpose. First, I regard the prefix post- as signifying a complex atemporal procedure, rather than seeing it as a sign of a linear chronology. Thus the human and the posthuman are not only allowed to coexist in ever-changing configurations, but they are also supposed to affect each other reciprocally. Second, I assume that the general posthuman condition is not upon us yet. In this sense, most of the posthuman situations would be investigated in the future tense. Third, I see to it that race should not be omitted in the discussion about the human and posthuman conditions as well. Based on this revised critical position, this paper reviews what is at issue in the two genealogies of the posthuman discourse, a transhumanist version of posthumanism and the critical posthumanism. Paying due attention to the ways in which the critical posthumanism has been dealt with by such scholars as Donna Haraway, Rosi Braidotti, and N. Katherine Hayles, to name a few, I attempt to envision how the posthuman subject can be re-embodied and how the posthuman space can be produced.

부주의한 운전수들: 『위대한 개츠비』에 나타난 자동차와 여성

우효경 ( Hyo Kyung Woo )
미국소설학회|미국소설  25권 2호, 2018 pp. 33-55 ( 총 23 pages)
6,300
초록보기
This paper re-reads The Great Gatsby to examine how the automobile as a representation of modernity creates new gender discourses about women’s driving and mobility in the 1920s. During the Jazz Age, the automobile became an important part of American popular culture and significantly changed the urban life of Americans. In this context, The Great Gatsby presents the automobile as a symbol of American modernity, especially when Myrtle’s tragic car accident functions as a central incident of the plot. By investigating different female characters’ relationships to automobiles and driving, this paper argues that gender plays a substantial role to decide the way each female character identifies her experience with a car. While male characters often identify their social status and reputation based on the car they own, female characters’ approaches to cars are represented as passive and even negative in terms of their sexual promiscuity and expensive tastes. At the same time, this paper aims to read Jordan Baker as a new, alternative type of a female driver who resists negative social prejudice against women’s driving.

로스의 ‘아메리카 삼부작’: 역사의 개인적 전유?

유정완 ( Jung-wan Yu )
미국소설학회|미국소설  25권 2호, 2018 pp. 57-82 ( 총 26 pages)
6,600
초록보기
This paper explores Philip Roth’s unique interweaving of personal and historical narratives in his later fiction, particularly focusing on his autobiographical information couched in his “American Trilogy” (American Pastoral, I Married a Communist, The Human Stain). Foregrounding the Vietnamese War, the Cold War, and racism and feminism deeply saturated into personal daily lives in contemporary America, Roth crisscrosses the grains of contemporary American history. His singular way of representing the shattered lives of middle-class Jewish families in connection with grand historical narratives is often explained as a postmodern narrative strategy by critics as well as readers. With this understanding, however, this paper tries to critically distance away from Roth’s utilizing of his own autobiographical indignation toward certain events and people in his apparently fictional representation of individual lives fragmented by grand historical events. Particularly, his anger against his ex-wife and her expose of their broken marriage might be understood as a direct narrative desire propelling the main storylines of I Married a Communist and The Human Stain. Though this privatization of history for personal outburst of private indignation might be explained away as a narrative strategy, Roth’s staunch conservatism and anti-feminism cannot be explained.

The (Mis)Representation of an Arab/Muslim American Terrorist in John Updike’s Terrorist

( Jung-suk Hwang )
미국소설학회|미국소설  25권 2호, 2018 pp. 83-104 ( 총 22 pages)
6,200
초록보기
Focusing on American/Western point of view and the impact of 9/11 on America(ns), most canonical 9/11 literature emphasizes the trauma suffered by “innocent” America(ns) and the unrepresentability of the event, ascribing the terrorists’ motivations to religion, Islam, while overlooking America’s long-standing political, military, and economic intervention in the Middle East. John Updike’s Terrorist (2006) tries to reject the dominant narrative. In his attempt to reject the popular representations of 9/11 and conceptualize the terrorists’ point of view, Updike creates an allegedly sympathetic homegrown terrorist, eighteen-year-old American-born Arab/Muslim Ahmad Ashmawy Mulloy. However, Updike’s extremely apolitical Arab Muslim American protagonist can neither represent the conflicting social realities of the post-9/11 America he lives in nor offer the historical contexts underlying the attacks. Examining Updike’s representation of an apolitical and good Arab Muslim American terrorist, I explore how Terrorist ultimately reproduces and reinforces the dominant discourse of 9/11―the misplaced emphasis on the role of religion and the historical amnesia regarding the causes of the event.
1