글로버메뉴 바로가기 본문 바로가기 하단메뉴 바로가기

논문검색은 역시 페이퍼서치

제임스조이스 저널검색

James Joyce Journal


  • - 주제 : 어문학분야 > 영문학
  • - 성격 : 학술지
  • - 간기: 반년간
  • - 국내 등재 : KCI 등재
  • - 해외 등재 : -
  • - ISSN : 1229-5604
  • - 간행물명 변경 사항 :
논문제목
수록 범위 : 19권 1호 (2013)
1,000
키워드보기
초록보기

「담쟁이 날의 위원회실」: 가룟 유다를 위한 변명

김철수
6,000
키워드보기
초록보기
This paper aims to search for the elements of excuse for Judas of Iscariot, who has been blamed for betraying his master, as a central motif of "Ivy Day in the Committee Room" using materials from the Bible and other sources. The procedure shined a light on the need for new positions of the religious leaders in Ireland, who have been treated similarly due to the betrayal of their political leader. The main characters in the story are pursuing only the economic influence, which they hope to fill their empty pockets instead of the grand purpose of freedom and independence of Ireland. In every aspect, they do not care even though the money comes from the British Empire, who have colonized their country. The negative evaluation of Judas Iscariot is based on the resentment of the other disciples who were influenced by the death of their master. The betrayal of the Irish religious leaders, who blamed Parnel emphasizing the purity of a political leader, has been degraded as a target of blame because it had caused the downfall of the leader. However, as many well-documented evidences claim that there are some plausible, namely personal, political and religious reasons for Judas of Iscariot to sell his master, Jesus, the conversations of the people in this story shows some real reasons for religious and political people of Ireland to rebuke and betray their substantial leader. In brief, the downfall of a promising Irish political leader and subsequent frustration of his home country do not seem to be caused by a mere betrayal of a specific group of people who wish to achieve political and economic benefit, but can be interpreted as a manifestation of their righteous desire for a leader not to lose his spiritual and physical purity.

From Gnomon to Parallelogram: A Geometry of Interpretation in Dubliners

( Hee Whan Yun )
6,200
키워드보기
초록보기
This paper tries to clarify the concept of gnomon and examine its possibility as an interpretative strategy in reading Dubliners. Gnomon is the part of a parallelogram which remains after a similar parallelogram has been taken away from one of its corners. Gnomon, therefore, is an incomplete parallelogram, a figure that would be whole were it not missing one of its corners. The gaps, ellipses, omissions, absences and silences in Joycean text frequently obstruct reader``s interpretation. Such a textual "uncertainty" can make readers feel frustrated in their deciphering process. A gnomonic reading is an effort to fill in those missing, unwritten parts of the text, trying to discover subtly programmed as well as deftly hidden keys and clues for interpretation. Such a reading, geometrically speaking, can be likened to making complete an incomplete parallelogram, that is, a gnomon. Gnomonic approach can be highly creative, bringing about new, radical, alternative interpretations. It requires on the reader``s part, however, to strike a balance between what is said and what is unsaid in the text. Otherwise a gnomonic reading can simply lead to idiosyncratic and irresponsible misreading. Understanding of gnomon as a narrative concept, as well as its applicability to reading, still remain controversial. But its practicality as a reading strategy is very challenging as well as promising because it could open up different textual interpretations hitherto unknown, as my gnomonic reading of Dubliners would hopefully show.

마비된 도시와의 사랑: 「애러비」에 대한 정신분석학적 독해

임경규 ( Kyeong Kyu Im )
5,700
키워드보기
초록보기
This paper aims at reading James Joyce``s "Araby" from the Lacanian psychoanalytic perspective. It argues that the boy``s unrewarded love toward Mangan``s sister is the boy``s effort to inscribe his desire and subjectivity within the urban space of Dublin that is paralyzed and alienated/alienating. In contrast to the boy``s uncle who represents Dublin bourgeois life in "brown imperturbable faces," Mangan``s sister symbolizes the promise of the urban life, luring the boy into the commercial culture of the city. However, his love with Mangan``s sister or the desire for seamless integration into the space of Dublin is structurally unattainable because Dublin, the paralyzed city, does not allow such a thing as a harmonious unity between its space and its citizens. Joyce expresses this impossibility by framing the story in the form of courtly love. According to Lacan, courtly love is parasitic on the fundamental impossibility because the lady in question is not a woman with materiality but what he calls das Ding-or a screen on which a man projects his narcissistic fantasy. The boy``s fantasy should disguise the traumatic truth-his love is not impossible but just is impeded by the "throng of foes" that are "hostile to romance." The boy``s misrecognition leads him into an endless cycle of desire and lack, or what he calls "vanity."
5,700
키워드보기
초록보기
This paper focuses on how British colonial institutions adversely affected the adolescent characters in James Joyce’s Dubliners and A Portrait of the Artist as a Young Man. The adolescent crisis of identity found in Joyce’s works starts to take shape when the characters reach a pivotal point in their lives. The characters are forced to make a choice: conform to societal expectations or follow their individual instincts and risk social alienation. In addition, the characters that are undergoing the crisis of identity in Joyce’s writing are being influenced by society to make decisions that are diametrically opposed to what they truly want. In the first two examples from Dubliners, the protagonists give in to societal pressures and do what is expected of them. The third example, Stephen Dedalus in Portrait, despite enormous pressure from society to conform, chooses his own path of non-conformity. In all cases, the crisis of identity proves to be an extremely psychologically intense experience for the character regardless of whether he/she chooses to conform or not to conform. In exploring this important transition into adulthood, Joyce shows the adolescent characters as they face the most critical decisions of their young lives and tempers them for adulthood.

「태양신의 황소」에서 제국의 위대한 전통 허물기

민태운 ( Tae Un Min )
6,100
키워드보기
초록보기
“Oxen of the Sun” is known for Joyce’s imitation of the styles of the great authors from Old English to Carlyle. Scholars have long been aware of his sources. The selections turn out to be nationalistic, militaristic, and imperialistic. This paper examines how Joyce undermines the great tradition of empire by parodying the originals. The paper will be focused on the comparison and contrast between Joyce’s parody and the original essays by the influential Victorian sages, particularly Carlyle and Macaulay. Carlyle as a strong upholder of imperialism believed that the English were a superior race and thus should govern the colonies. He had contempt for the common man, while he admired heroes like a sort of god. Also, for him men must be masters in their own house. In his parody, Joyce attempts to deconstruct the colonial and patriarchal discourse of the Empire through Carlyle. Also, Joyce resists Malthusian theory, which warned against the population growth, a theory favored by the English ruling class. Opposed to the idea that a civilized man can control himself but a barbarian multiplies heedlessly, Joyce celebrates the fertility of Ireland. Similarly, Joyce simply erases the Empire as it is glorified by Macaulay. Furthermore, at the end of the episode, the anthology of literary prose styles gives way to the oral cultures at the periphery which English culture has repressed. This hints at the subversiveness or menace of Joyce the Irishman, qualitatively different from Englishman. Joyce enacts resemblance or parody and, in the process, becomes a “hybrid,” that which is potentially disruptive. For Bhabha, mimicry and resemblance are modes of resistance. By imperfectly mimicking the colonizer’s culture, Joyce the “mimic man” implicitly questions the authority of colonial discourse.

카프카와 조이스: 유대인과 변신적 자아

김상욱 ( Sang Wook Kim )
6,000
키워드보기
초록보기

전쟁기념비와 애도: 버지니아 울프의 『댈러웨이 부인』

김영주 ( Young Joo Kim )
5,900
키워드보기
초록보기
It is well known that most of Virginia Woolf’s writing is affected by the psychological trauma caused by the Great War. If the permanent sense of loss caused by the War remains irreparable in Jacob’s Room and To the Lighthouse, Woolf mourns for the victims of the war including both the war dead and the war survivors in Mrs. Dalloway. This paper aims to illuminate the limit and power of mourning in the public and collective space as well as the private and intimate space in Mrs. Dalloway. Woolf’s novel is interested in the ways that spaces in London are produced for the purpose of mourning after the Great War; however, Woolf is well aware of the denial or erasure of personal experience and perception by public gestures of mourning for the war dead. While Woolf’s novel demonstrates the power of war monuments such as the Cenotaph and the tomb of the Unknown Warrior to introduce the worship for the glory of war and empire and thereby to bring order and stability back to the postwar London, it shows how their marble stare fails to mourn for the war dead in hurrying to bring closure to the trauma caused by the War. The rite of mourning in its true sense is enacted in Clarissa’s meditation on the death of an unknown young man as she registers the pain and suffering of the young soldier in her own body, pays respect to his life and death as both the war victim and the survivor, and finally collapses the distinction between civilians and soldiers.

런던, 도시 드라마 속으로: 『댈러웨이 부인』과 『토요일』

박은경 ( Eun Kyung Park )
6,300
키워드보기
초록보기
This paper investigates a close connection between Virginia Woolf’s Mrs Dalloway (1925) and Ian McEwan’s Saturday (2005), with a focus on urban drama in London. It furthers several critics’ brief attention to some similarities between the two texts. I demonstrate that the shared backdrop of modern London provides a crucial space for the privileged protagonists of both novels to see, contact, and make a meaningful relationship with the underprivileged. These prominent ethical concerns in the urban space contain a political edge, owing to the meticulously chosen temporal backgrounds of each novel-the aftermath of World War I in Mrs. Dalloway and the after-effect of the 9/11 terrorist attacks in Saturday. Drawing a parallel between the conflict at home and the violence in the homeland dramatized in one day London, two writers deal with the crisis of western civilization within everyday urban life. Yet, their approaches to explore the complex aspects of urban connections are slightly dissimilar. Mrs. Dalloway orchestrates the myriad of urban drama that is seen and experienced by London pedestrians; intermixing the pervading consciousness of Clarissa Dalloway with that of Septimus Smith. Saturday unfolds an urban drama, as the scientifically-minded protagonist, Henry Perowne, mainly observes the city through the windows of his house or those of his motor-car. Furthermore, Woolf emphasizes heart that allows the ethical intimacy with the social other at the end of Clarissa’s party. On the other hand, McEwan is concerned with the difficulty of achieving mutual understanding and sympathy, as revealed in Henry’s final limitation within his familial bounds. Nonetheless, Henry’s unavoidable contact with Baxter in a car accident leads to Baxter’s intrusion into Henry’s castle-like home; illustrating the inevitability of urban contact. The intervening narrative voices, though faint, allow a fissure in Henry’s dominant narrative. Similarly, in Mrs. Dalloway the diverse voices of many other Londoners, different in class and status, are heard. Out of focus from Clarissa, a medley of London drama emerges. Both texts, layered in various voices that echo urban dissimilitude, endorse the heterogeneous urban drama in London that is open to threat and violence, but, to understanding and communicating as well.

『율리시스』독회: 「이타카」&「페넬로페」

이영심
5,600
키워드보기
초록보기
1 2 >