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> 미국소설학회 > 미국소설 > 27권 1호

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 : 27권 1호 (2020)
6,500
초록보기
This paper explores the idea of community in Foer’s Extremely Loud & Incredibly Close, particularly focusing on how it attempts to imagine a new form of community different from the pervasive notion of patriotic national community that has gained strong currency since the 9/11 incident in 2001. The community presented in the text provides a form of membership through mourning, but this membership is not dictated by nationality, racial demarcation, or any pre-determined notions of identity. By sharing loss and pain with complete strangers and thus realizing the fluid yet continuing connection that we all share in a society, the characters show that collective mourning can be an alternative form of communal identity to the rigid boundary of national community. The idea of communal membership through mourning in the text is very much in the same line with Judith Butler’s and Jean-Luc Nancy’s theories, which theoretically outline the communal relationality containing Otherness. This paper attempts to show that the community presented in Extremely Loud & Incredibly Close encapsulates these theories, creating through literary imagination a mourning community that does not require fixed boundaries or any label of homogeneous membership.

돈 드릴로의 9/11 픽션과 정물적 상상력

김정하 ( Jungha Kim )
미국소설학회|미국소설  27권 1호, 2020 pp. 31-55 ( 총 25 pages)
6,500
초록보기
This paper examines Don DeLillo’s literary engagement with still life in his pieces on 9/11: “In the Ruins of the Future: Reflections on Terror and Loss in the Shadow of September” (2001), “Baader-Meinhof” (2002), “Still Life” (2007), and Falling Man (2007). DeLillo’s flexible rendering of still life transforms its pictorial quality into an aesthetic strategy that interrupts the infinite proliferation of the 9/11 spectacle. As visual counter-narratives to the excesses of the image-event, instances of still life in these texts function as temporal and epistemological pauses in which damaged small things and marginal stories appear. Delillo’s pieces on 9/11 provide a nuanced critique of the obscene consumption of 9/11 as an image-event and of the myopic commitment to a single plot that both the terrorists and the Bush administration shared. However, his version of still life obscures the distinctive trauma of terrorism in which the brutal entanglements between organic and nonorganic bodies force us to rethink trauma as a way into the zone of the Other. In sum, DeLillo’s literary translation of still life succeeds in collecting anti-9/11 spectacle images at the risk of overlooking the epistemological and ontological reorientations that the trauma of terrorism enables.

토니 모리슨의 『자비』에 나타난 공간의 의미와 유령적 서사

김혜진 ( Hyejin Kim )
미국소설학회|미국소설  27권 1호, 2020 pp. 57-83 ( 총 27 pages)
6,700
초록보기
This study explores the black female slave’s narrative desire of writing herself as a speaking subject in Toni Morrison’s A Mercy. Florens carves her “telling” on the wall of the house owned by the late slave owner Jacob Vaark. This “telling” is about her desire of belonging entangled with her understandings of the meaning of spaces―Jacob’s shoes, his grand house, and natural open space. Florens’s spiritual journey to a mature subjectivity begins with her recognition of her forced identity symbolically engraved with a letter in the Sir’s shoes to endorse her slave-status. Although this identity is forcefully given and deprived of her free agency, the letter-given identity is, Florens believes, the only way to remain legally protected in society, which is proven to be a fantasy. Her act of narrating her story and her plan for burning the house allow her spectral, haunting voice to be heard across the nation and over generations, thereby transforming and extending the limited racist house into the open space and weaving her telling into collective rememory. Her ghostly narrative becomes a vehicle to deliver black communal trauma and their oppressed voices including the one of her mother while exposing the hypocritical sense of “mercy” proudly posed by the white master.

올컷의 저널쓰기 수행: 개인적 기록에서 여성 위상에 대한 공적 서사로

손정희 ( Jeonghee Sohn )
미국소설학회|미국소설  27권 1호, 2020 pp. 85-113 ( 총 29 pages)
6,900
초록보기
Louisa May Alcott wrote journals for most of her lifetime. However, her journals as are left now are the outcome of an intentional revision made by the author herself. It is generally argued that Alcott might have wanted to keep her public image in the best possible way. Therefore, this paper aims to read Alcott’s journals as a semi-public record, a kind of autobiography. In this regard, this paper examined her journals as a rich resource for examining the crucial issues Alcott had to deal with as a woman writer of nineteenth-century America. First, Alcott’s journals show her continuous efforts to establish economic independence. She struggled to take care of the economy of the family as a main financial supporter. Also, she recorded the difficulties and hard efforts of finding out the cures for her disease with which she had been afflicted since she volunteered to be a nurse in the Civil War. Lastly, she expresses her difficulty of being a woman writer in her day, juggling between duties of a public figure and desires of a private woman. Alcott’s issues with economic independence, invalidism, and the conflict between a private woman and a public writer represent woman’s status of nineteenth-century America. In this vein, then, Alcott’s lifetime practice of journaling can be argued as a personal record turned into a public narrative of woman’s status in the cultural context of her day.

“The Food of Light”: Melville’s Critique of Transcendental Optics in Moby-Dick

( Joon Hyung Park )
미국소설학회|미국소설  27권 1호, 2020 pp. 115-149 ( 총 35 pages)
7,500
초록보기
This paper explores the tension between Emerson’s Nature and Melville’s Moby-Dick in terms of their conflicting stances toward vital issues in nineteenth-century optics: transparency versus opacity and transcendental rationality versus corporeal contingency. For this, I examine how Crary rediscovers the significance of Goethe as the one who founded not only physiological optics against Newton’s physical optics but also the physiological model of subjective vision against Kant’s idealistic model of subjective vision. Using it as theoretical lens, I demonstrate how the two writers’ disparate attitudes towards Goethe in Melville’s 1851 letter and Emerson’s 1840 Dial essay are related with Emerson’s transparent eyeball in Nature and Melville’s color and light/darkness symbolism and imagery in Moby-Dick. Goethe’s earlier attempt to support, but eventual repudiation of, Kant’s esteem for transparency and transcendence in the subject-as-observer’s vision and epistemology― alongside Goethe’s later anti-Romantic position by turning away from his earlier seemingly Romantic characteristics in his literature―are crucial for understanding Emerson’s and Melville’s complex positions on Goethe. In theorizing his notion of the transparent eyeball, Emerson draws on, among several possible sources of inspiration, Kant’s transcendental and idealistic subjective vision and Newton’s theory of transparent bodies and light transmission and reflection. In contrast, although Melville in the 1851 letter criticizes Goethe’s romantic concept of “all feeling,” Melville’s emphasis on ambiguity, opacity and corporeality in color and light imagery in Moby-Dick is reminiscent of Goethe’s color theory, especially the effects of the turbid media for the observer’s visual perception as a necessary condition for the appearance of colors as physiological phenomena. I read Melville’s Goethean color and light imagery as his critique of Emerson’s pro-Newtonian and pro-Kantian transcendental optics.

The Birth of a Nation (The Clansman) as the Birth of a White Imperial America

( Jee Hyun An )
미국소설학회|미국소설  27권 1호, 2020 pp. 151-174 ( 총 24 pages)
6,400
초록보기
Building on the previous works of African American historians, political scientists, literary theorists and critics, film historians and critics, this paper argues that The Birth of a Nation is not only a propagandistic epic presenting the vision of a new modern nation built on the destruction of black bodies, but also of a great empire to be born through the ideology of white supremacy in the context of the contemporary political milieu of Wilsonian democracy. I elucidate the interconnectedness between domestic racial dominance and violence within the US based on the ideology of white supremacy, and the expansion of the US as an imperial power in the intertextual relationship among Griffith’s film and the writings of Thomas Dixon Jr. and Woodrow Wilson. An era eerily reminiscent of the present period in American history, the idea of ‘American democracy’ in the formulation of Wilsonian democracy propagating the fantasy of America as a land of freedom gave legitimacy to US’s emergence as an imperial power. The mobilization of the idea of American democracy has always gone hand in hand with its segregationist and/or racist domestic policies, and I demonstrate that this idea of American democracy has served well to posit a white, imperial democracy outside the US while depriving the rights of non-white bodies by dehumanizing them within the US, as manifested in The Birth of a Nation (The Clansman) announcing the birth of a white, imperial America.
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