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> 미국소설학회 > 미국소설 > 25권 3호

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 3호 (2018)

캐더의 이민에 대한 인식과 한국의 다문화 수용문제

김용수 ( Young Soo Kim )
미국소설학회|미국소설  25권 3호, 2018 pp. 5-31 ( 총 27 pages)
6,700
초록보기
Willa Cather has been well known as a representative writer of the Plains literature. She favorably pictures the European immigrants in such works as O Pioneers!, My Antonia and “Neighbour Rosicky” as exemplary settlers whose diligence, courage and endeavors work as fundamental qualities for their success in the new country. Her characters get over their adverse circumstances by preserving their own language, foods, and cultural traditions. But her contemporary old-stock Americans looked these immigrants, especially those from southern and eastern Europe, with suspicion and even hostility. Cather also describes Bohemians rather negatively for their tendency for instability, emotional fluctuation and violence, but their defects are covered with their positive traits and virtues or diluted by being juxtaposed with other vicious American settlers. Americans’s negative attitudes might be due to the influence of their biased belief in certain Puritan values and American spirit. Cather also fretted about the rude foreigners in the aftermath of the massive influx of immigrants in the 1930s. Similar to this situation, Korean society is now undergoing an abrupt flux of immigrants that raises social arguments on accepting immigrants and multiple cultures. Cather’s works and views would be good examples for Koreans to consider when they look back on the general attitude of Koreans to immigrants and their intrinsic cultures.

모니카 휴즈의 청소년 과학소설에 나타난 자연과 과학 기술

유영종 ( Young Jong Yoo )
미국소설학회|미국소설  25권 3호, 2018 pp. 33-57 ( 총 25 pages)
6,500
초록보기
This paper explores the representation of technology and nature in Monica Hughes’s young adult science fiction (YASF). Hughes’s YASFs deal with the question of technology again and again. They admit that modern technology is partly to blame for the numerous problems humanity faces today, such as environmental damages, overpopulation, dehumanization, and others. Some of Hughes’s early works, published around 1980s in particular, reflect a general tendency in modern YASFs. Most of modern YASFs demonize technology and propose a return to nature. However, Hughes’s Isis trilogy, The Keeper of the Isis Light, The Guardian of Isis, The Isis Pedlar, questions if humanity needs to discard technology completely to restore what it has damaged. By examining an alternative community that chose a primitive agrarian lifestyle, and that banished almost all the traces of technology, the Isis trilogy claims a need for a balanced relationship between nature and technology. The Isis trilogy suggests that properly used technology can enhance the life of human beings. Unlike the majority of modern YASFs that are partly responsible for the widespread of technophobia, Hughes’s Isis trilogy presents an alternative vision for the proper relationship between nature and technology.

F. 스콧 피츠제럴드의 『밤은 부드러워』에 나타난 남성성의 불안과 환상

정진만 ( Jin Man Jeong )
미국소설학회|미국소설  25권 3호, 2018 pp. 59-85 ( 총 27 pages)
6,700
초록보기
In The Far Side of Paradise, a highly acclaimed and authoritative biography of Fitzgerald, Arthur Mizener colors the conjugal relation between F. Scott Fitzgerald and Zelda as love. However, Fitzgerald implicates the impossibility of it in his autobiographical novel Tender Is the Night. In the novel, not only the marital relationship between Dick and Nicole but the illicit one between Dick and Rosemary altogether fail. This essay explores how such an impossible sexual relationship relates to Fitzgerald’s own innermost struggle to promote masculinity within his gender consciousness. This essay compares the two texts, The Far Side of Paradise and Tender Is the Night, in order to infer male anxiety from the crisis of masculinity and subsequent gender politics dissolving it. Additionally, this essay refers to Renata Salecl’s psychoanalytic explanation of ‘doubling’, a re-appropriation of Jacques Lacan’s idea of sexuation, as a way of elucidating Dick’s choice not to advance his passionate relationship with Rosemary. This study would allow us to see that Tender Is the Night provides questionable fantasy that Dick’s phallic potency can remain intact or be regained properly if only Nicole does not exist. Also, this study would shed light on how Dick’s self-control evading a passionate but perilous relationship with Rosemary arises from his anxiety that his manhood might be lost by the imagined overwhelming enjoyment from the relation. This essay helps us understand that Fitzgerald was actually engaged in his contemporary male anxiety and fantasy within and without his literature.

“방문자로서 경외심, 절제, 기대를 지니고”: 『딕테』의 2인칭 시점

최하영 ( Hayoung Choi )
미국소설학회|미국소설  25권 3호, 2018 pp. 87-110 ( 총 24 pages)
6,400
초록보기
Theresa Hak Kyung Cha’s Dictee has received consistent critical attention since its publication in 1982. This paper notes that there has not been much study focusing on various points of view this work employs. Ironically, the scarcity can be attributed to the critical attention on the narrator of Dictee, which shocked critics of Asian American literature with its unusual hybridity and multiplicity. This paper explores second person point of view appearing, especially, in ‘Calliope’, ‘Erato’, and ‘Terpsichore’ chapter. While second-person point of view is rarely used in narrative, when it is employed, it activates a reader’s role by addressing the reader as ‘you.’ Frequently it is not clear whether the pronoun ‘you’ is referring to a character, a narratee, or an actual reader, and therefore it is up to the reader to decide to whom ‘you’ refers, and during the process, the reader gets involved with the narrative as a more active participant. For example, in ‘Calliope’, readers are forced to move from a narrative situation to another, and the other without notice or appropriate transition. To most of readers, there exists at least one situation in which they cannot understand or sympathize with, and, this paper argues, the irreconcilability is exactly what Hak Kyung Cha intends for the readers when she addresses them with the pronoun “you.” Dictee’s readers are confronted with the unfilled chasm in understanding of history and reality, and are stimulated to recognize how history and reality are constituted according to gender, political, religious, and racial hierarchy. In ‘Erato,’ readers are carefully guided to sympathize with Gertrud, an oppressed female character in Carl Dreyer’s film, through gradual approach to her. In ‘Terpsichore,’ readers fluctuate between the role of narratee and observer without finally deciding with whom they will identify, and this fluctuation is connected to the experience and existence of boundary beings such as immigrants, exiles, the colonized, and women under patriarchy. Thus Dictee uses second-person point of view in diverse ways to activate reader’s role and communicate with readers.
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