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> 미국소설학회 > 미국소설 > 28권 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 : 28권 1호 (2021)

식민의 형이상학: 하와이 ‘태평양 오리엔탈리즘’ 비판

강우성 ( Woosung Kang )
미국소설학회|미국소설  28권 1호, 2021 pp. 5-31 ( 총 27 pages)
6,700
초록보기
This paper attempts to elucidate the complex historical developments of the so-called “metaphysics of colonialism,” aptly expressed in the ideology of “Pacific orientalism” concerning the tragic destiny of Hawaiian archipelago. In order to analyze the ups and downs of conceptual signification of Hawaiian “native sovereignty,” I explore the textual interpretation of Hanunani-Kay Trask’s nonfiction masterpiece, From a Native Daughter, in terms of its postcolonial critique of racialist neo-colonialism and the rhetorical delineation of native notion of cosmic familial connection. As a leading proponent of indigenous sovereignty of Hawaiian native islanders, Trask severely criticizes the deep-rooted self-image of the European-American white colonizers who like to justify their universality by subjugating and misrepresenting the native civilization as feudalism. She also pinpoints the absurd racialist assumption and the concomitant mystification of whites’ blood purity in the enlighten disciplines of the Western human sciences. Trask’s idea of Hawaiian sovereignty contains the two controversial aspects: the exclusive claim of native islanders over the forfeited land and the denial of immigrants’s right of being a host of Hawaiian archipelago. For her, sovereignty means the independence from the US, not a legal citizenship as a minority. Ironically, however, her claim of native’s exclusive land ownership and independence depends entirely on the good will of the US federal government and the conscientious international recognition. In this sense, Trask’s native sovereignty is, for all its vehemence and bitter animosity towards the white colonialism and immigrant ideology, at once a narrative of resistance and a rhetoric of surrender.

종말서사 속 유토피아적 상상력의 가능성과 한계 ―『스테이션 일레븐』을 중심으로

권지은 ( Jieun Kwon )
미국소설학회|미국소설  28권 1호, 2021 pp. 33-60 ( 총 28 pages)
6,800
초록보기
This paper aims to explore how utopian imagination is intertwined with the post-apocalyptic narrative in Emily St. John Mandel’s Station Eleven. The novel is praised by many critics for conveying an optimistic and hopeful vision of the post-apocalyptic world, particularly through the power of culture and art. This paper follows this thread of criticism, on one hand, by arguing that Station Eleven indeed embodies the impulse of articulating utopian thoughts, which is heralded not just by art but also by the effort to reclaim the idea of community. Contrary to the majority of criticism on the novel, however, this paper also attempts to show the ideological limitation of the utopian impulse manifested in Station Eleven. This is revealed foremost by the novel’s treatment of reality. By positing modern technology as normality and Shakespeare as the only legitimate gatekeeper of spirituality, Station Eleven presents the real world as the ultimate goal for the post-apocalyptic world to return to. In doing so, the sense of temporality becomes disrupted and the apocalypse turns into a historically contingent incident. By closely examining these ahistorical aspects, this article argues that the utopian imagination of the novel, however with good faith, functions to reconfirm a romanticized version of reality and thus an ideological perception of history.
11,600
초록보기
This paper attempts to find the factor(s) that drives the subordinates of the Peqoud to follow their leader, Ahab, even to the very moment of the tragic end in Herman Melville’s Moby-Dick. This research is a continuation of the author’s pursuit of satisfactory answers to the narrator’s question, “How it was that they so aboundingly responded to the old man’s ire . . . ?” Here, this paper focuses on Ishmael and Starbuck, the two most significant figures but the captain, as the representatives of the followers in the organization. For that, it uses a theoretical model presented by Jane M. Howell and Boas Shamir in their article “The Role of Followers in the Charismatic Leadership Process” (2005). Howell and Shamir suggest the reasons that some followers are more inclined to follow their leader even to the harmful consequences for themselves and their organization. Using this model, the paper suggests that Ishmael and Starbuck have opposing characteristics as followers in relation with their leader, which explains partly why most of the subordinates chose to follow Ahab.

게리 팍의 단편들에서 읽히는 장소들: 인류학적 장소, 비장소, 빈 공간, 다가올 장소

이일수 ( Il-soo Lee )
미국소설학회|미국소설  28권 1호, 2021 pp. 103-129 ( 총 27 pages)
6,700
초록보기
This essay discusses Gary Pak’s two short stories, “The Valley of the Dead Air” and “The Watcher of Waipuna,” presenting them as the representative narratives that bring forth the question of the place with its essential connections with human life. My argument is indebted to recent anthropological studies, particularly to Marc Augé’s perspectives on the significant dimensions of place: the anthropological place and the non-place. The spatial backgrounds for Pak’s stories, the two Hawaiian villages function as the “anthropological places” for the villagers, who need to have “internal other” and their “empty places” against which they try to establish their unity and homogeneity, and eventually to realize that they all might be the same peripheral existences to the larger global/capitalist context. The internal other as such is embodied in the outcast, pathological conditions in Jacob’s and Gilbert’s life respectively. With their eventual potentiality to summon the ethical communal sensitivity, I argue that their negotiating, performative subjectivity in the face of the modern expansion of capitalist “non-places,” evinces that daily awakenings and performances of moral communality by individuals are integral to our new, yet-to-come place in which we will truly dwell.

“운명”에 맞서다: 『여인의 초상』의 서사와 젠더 수행

이희준 ( Hee Joon Lee ) , 윤조원 ( Joewon Yoon )
미국소설학회|미국소설  28권 1호, 2021 pp. 131-158 ( 총 28 pages)
6,800
초록보기
This study of Henry James’s The Portrait of a Lady focuses on the first person narrator’s construction of and by the narrative, analyzing how James’s deployment of the narrator’s textual presence refers to, and rewrites, the heterosexual contract and conventions of gender hierarchy implicit in narrative acts and forms. The narrator “I” deserves particular attention, because, while the narrator is widely assumed to be the author’s persona and therefore a ‘man,’ it is not a simple matter to determine the unspecified gender of this unnamed discursive being whose existence is embodied only textually. As a textual construction, the narrator’s gender is constituted through narratorial acts. The ostensible gender identity of the narrator initially has much to do with the Realist narrator’s discursive self-positioning as an omnicient being, whose comprehensive gaze penetrates and contains a young female protagonist. On the other hand, the narrator’s maneuvering of the heteronormative plot of marriage is also a means through which his putative gender position is performed. On both levels the narrator begins by occupying the masculine position of authority. But the narrator’s masculine position becomes increasingly questionable and fluid, as the narrative unfolds in ways that disrupt the marriage plot’s heteronormative performance and Realism’s phallocentric premises. The famous open ending of The Portrait of a Lady is an aesthetic form that finally denotes the narrator’s eventual relinquishment of phallic authority. With Isabel ‘affronting her destiny’ and forever suspended outside the narrator’s control, the narrative form also veers away from Realism’s purview as well as conventions of the marriage plot.
6,700
초록보기
Jean Toomer’s Cane has long been recognized as a singular work of American modernism, mixing prose, lyric poetry, black spirituals, and drama to forge an aesthetic search for African American self-realization. In staging the failure of black characters to achieve this by rooting themselves in the soil and rustic life of Georgia, I argue, Cane enacts a complex pastoralism, which focalizes the dissonant and pervasive doubleness of black life in an age of technological transformation. With bifurcations that include African and American, past and present, rural and urban, South and North, black vernacular speech and standardized English writing, Toomer ironizes and racializes the longing for an unspoiled Arcadia that might redress the insufficiencies of the present. In the face of the racialized forces of modernization and industrialization, which threaten to translate black consciousness and aspirations into a single idiom, Toomer insists on a writing that maintains intimate contact with the contradictions and particularities of black life, forging complexities that resist translation and subvert unexamined American myths of exceptionalism and progress. Ultimately, African American self-realization remains unachieved in Cane; its complex pastoralism reveals this open-ended project requires inventively affirming the antitheses of modern black life, defiantly asserting its singularity and untranslatability.
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