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논문검색은 역시 페이퍼서치

영미문화검색

ENGLISH & AMERICAN CULTURAL STUDIES


  • - 주제 : 어문학분야 > 영문학
  • - 성격 : 학술지
  • - 간기: 계간
  • - 국내 등재 : -
  • - 해외 등재 : -
  • - ISSN : 1598-5431
  • - 간행물명 변경 사항 :
논문제목
수록 범위 : 15권 3호 (2015)

“체화된 정신”의 여성 정치학

강용기 ( Yong Ki Kang )
한국영미문화학회|영미문화  15권 3호, 2015 pp. 1-20 ( 총 20 pages)
6,000
초록보기
Deweyan epistemology that rejects apriorism and bases its reasoning on experience can promote women`s flourishing as desired by feminists in general. For pragmatism discards the western metaphysics structured in terms of hierarchical dichotomy: ‘good vs evil, being vs nothingness, presence vs absence, truth vs error, soul vs body,’ the first term of which has been privileged over the second term that is often associated with women. By replacing experimental inquiry and democratic deliberation for ideal reasoning, thus, pragmatist feminism tends to take ‘sympathetic care’ of women`s particular experience. Aside from William James` sexism rooted in his essentialist psychology, Dewey`s pragmatism is criticized by such feminists as Charlene Haddock Seigfried, Paula Droge, Lisa Heldke and others. Their critique centers on their remark that women`s problematic situation is missing in Dewey`s metaphysical object. And they also criticize Dewey`s misrepresentation of women which is identified throughout his writings when he uses the wrong term ‘man’ whenever he means ‘human.’ However, those feminist critics disparage the organic quality of Dewey`s philosophical method. Deweyan metaphysics going along with deconstrctive epistemology per se cannot not privilege women`s perspectives over men`s standpoints so far as its judgemental criteria originate from extra-experiential reasoning. But Dewey`s pragmatism can afford to advocate women`s standpoints when it, rejecting apriorism, turns to the embodied mind which is formed through the real life-based experimental inquiry.

Masqueraded Text and Its Unreadability in Herman Melville`s Confidence-Man

김민회 ( Min Hoe Kim )
한국영미문화학회|영미문화  15권 3호, 2015 pp. 21-42 ( 총 22 pages)
6,200
초록보기
Herman Melville`s The Confidence-Man is often discussed with Bahktinian notion of mask/masquerade in order to explain the various avatars of the confidence-man. However, Melville uses masks to reveal epistemological problems in the relationship between writer and reader. With the various use of masks every chapter, he attempts to create various narratives in the grand-narrative in a way to interact between writer and reader. In doing so, he aims to form the undetermined meanings of the narrative that can be made both by writer and reader. However, Melville shows that when they fail to create such a cooperative narrative, the narrative becomes unreadable. Melville`s various characters attempt to reach such a proper narrative through the confidence-man`s continuous contact with various passengers on the steamboat, the microcosm of American society. However, he fails to show this and gives reader the landscape of the nation full of distrust and leave the text with unreadability for reader.

“지역적” 세계문학과 실코의 『의식』

김용규 ( Yong Gyu Kim )
한국영미문화학회|영미문화  15권 3호, 2015 pp. 43-75 ( 총 33 pages)
7,300
초록보기
The paper is to examine an idea of world literature which puts on stage a new cultural reality in which the local problems get more global and the global issues more local because of the weakening of nation-state system under global capitalism. As the interaction between the global and the local is less mediated and more direct, the local is now getting an important place with all kinds of tension and contradiction. It becomes also one of the primary grounds meeting with global modernity, in which even the last existence of otherness on the earth disappears under the control of the global world system. In fact, the powerful potential of literature is coming from the under-national local space with subalternity and insurgence, threatened by the devastating effects of global capitalism. However, the existing theories of world literature, such as Fredric Jameson`s, Franco Moretti`s and Pascale Casanova`s, have tendency to pass over the meaning of the local as an essential place of world literature. Compared with these theories, Leslie Marmon Silko`s Ceremony can be an important example of ‘local’ world literature in that it dramatizes the contradictions and conflicts between global modernity and local histories and shows local people frustrated by and struggling against the destructive effects of global modernity.
6,500
초록보기
Korean American novelist Younghill Kang`s East Goes West is a pioneering inquiry into Western modernity and modernism as seen from the perspective of a Korean exile to North America, Chungpa Han. His exploration incorporates the question of the accomplishments of Western modernity, as well as its limits, and by addressing the Western culture, art, and literature, he sheds light on the ethnic margins of Western modernism. Kang`s hilarious, picaresque representation of the young Oriental scholar-turned-laborer confronting a great deal of tumult within and without Western cultural borderlines discloses the heterogeneous conjugation of Western modernity and Asian American experiences therein. By questioning the accomplishments and limits of Western modernity and its cultural aftermath from the viewpoint of a Korean American diaspora intellectual, Kang struggles to reconfigure the socio-cultural boundaries of modernity in which Asian Americans have been involved to create their distinct cultural expressions.

토니 모리슨과 미국 흑인문학: “미국흑인”이라는 재상상된 공동체의 사명

김준년 ( Junyon Kim )
한국영미문화학회|영미문화  15권 3호, 2015 pp. 103-125 ( 총 23 pages)
6,300
초록보기
Like, or more than, any other African American fiction writers, Toni Morrison is concerned with the way African Americans have been conceived of as an imagined community and how the African American women`s community can be shaped as a politico-ethical agency in her novels. For a fuller understanding of Morrison`s views of black people and women`s community, I investigate in detail her responses to each case of such significant historical events ranging from the post-Civil Rights period to the so-called postracial era. Then, in order to locate Toni Morrison in broader currents of African American history and thought, I give an overview of the very contemporary criticisms which explore the tensions between the (local) community-based discipline of Black Studies and the transatlantic inquiry of Black Cultural Studies. Back to Morrison`s writings, I argue that the black people Morrison imagines is a ghostly community on the grounds that just as the past haunts the present, so the imagined community of black people serves as a historical reminder of the “something to be done” in American society. Further, drawing on a group of philosophers and theorists, such as Jean-Luc Nancy, Maurice Blanchot, Giorgio Agamben, etc. I also claim that Morrison`s black women`s community features an “inoperative community” and a “coming community” as well.

셔만 알렉시의 『인디언 킬러』: 미국인과 아메리카 인디언의 공존을 위한 트랜스내셔널리즘

노헌균 ( Heongyun Rho )
한국영미문화학회|영미문화  15권 3호, 2015 pp. 127-149 ( 총 23 pages)
6,300
초록보기
This thesis aims to investigate the conceptions of transnationalism in Sherman Alexie`s Indian Killer. The following theories are applied to make it concrete the transnationalistic discourses in the novel: J. Hector St. John de Crevecoeur`s New Man theory, Israel Zangwill`s melting-pot theory, Amy Chua`s cultural tolerance, and Arnold Krupat`s canon for Native American literature. There happens a series of killings in Seattle, Washington. All killings hold the same things in common: the victims are white; the corpses are scalped; they are scattered with owl feathers. The citizens in Seattle assume that the killers should be Native Americans because Hollywood films and TV shows have shown them the stereotypical images of Indians like cruelty, superstitious beliefs, animism, and primitiveness. Based on the three clues, John Smith, a young Native American adopted to white families, is pointed to be a possible suspect. According to Crevecoeur`s and Israel Zangwill`s arguments, John Smith is supposed to be acculturated into white cultures and melted down to get transformed into New Man, but only to recover his original ethnic identity as Native American. What is needed to him is, as Amy Chua suggests, cultural tolerance in American cultural milieu. His cultural identity can be also strengthened once he is educated by canonical texts made from Native Americans` perspectives. Sherman Alexie`s transnationalism finally implies the shift from New Man theory into cultural tolerance.

Alexie`s Healing Stories for American Indians` Collective Trauma

박재영 ( Jai Young Park )
한국영미문화학회|영미문화  15권 3호, 2015 pp. 151-171 ( 총 21 pages)
6,100
초록보기
This paper ponders on the sociopolitical, ideological, and historical places of the American Indian father within Sherman Alexie`s two short stories, “Because My Father Always Said He Was the Only Indian Who Saw Jimi Hendrix Play ‘The Star-Spangled Banner’ at Woodstock” and “This Is What It Means to Say Phoenix, Arizona.” Both stories first appear in The Lone Ranger and Tonto Fistfight in Heaven in 1993 and present an Indian father who is “lost” and his son who is trying to connect with him. The connection and disconnection, the torment of the past, and the grief of loss that Victor experiences are to some extent autobiographical. Alexie is still “angry” about all the social injustice, discrimination, and cruelty of American society, and his mourning for his long-deceased father continues even today. He suffers from his own painful past and the past of Native Americans. Like Victor, the narrator of the two stories, Alexie struggles on the borderline between white culture which is regarded as the mainstream and the culture of minority, a culture of his own tribe. Victor`s stories are Alexie`s and collectively Native Americans` because they all share the trauma originated from the past of colonization. Thus it is vital for the reader to realize America`s domestic colonial history in which the stories of both Victor`s and Alexie`s are profoundly rooted. Scrutinizing the stories through the lens of new historicism, this paper discusses an American history told by Native Americans and interprets the stories in terms of the collective trauma that Native Americans have undergone. Also it examines the roles of the stories as a demonstration of their reality of frustration, anguish, resentment, and unhomeliness.

포레스터 부인에게 “장미”를: 『타락한 숙녀』와 「에밀리에게 장미를」

박하정 ( Hajeong Park )
한국영미문화학회|영미문화  15권 3호, 2015 pp. 173-196 ( 총 24 pages)
6,400
초록보기
Willa Cather`s place in American literary tradition can be assessed in relation to her literary influence onto contemporary writers as well as the excellence of her individual work. While her influence onto F. Scott Fitzgerald`s has been discussed extensively starting from his well-known confession of “an instance of apparent plagiarism,” William Faulkner`s intertexual relationship with Cather has not been explored deservedly. As an extension to Skaggs`s almost the only investigation of Faulkner`s “recycling” of Cather`s fiction and criticism, this paper draws attention to the parallels between Cather`s A Lost Lady and Faulkner`s “A Rose for Emily” and examines Cather`s unacknowledged influence on Faulkner`s well-known short story. The paper shows how despite apparent differences in size and the use of subgenre such as realism and the gothic, the two pieces have a lot in common in terms of place, historical background, narrative voice, communal treatment of the aristocratic heroine. Just like Cather`s collective narrator`s inescapable gaze and surveillance onto Marian Forrester, Faulkner`s Emily becomes an object of admiration, envy, and violence in the community. Emily is similar to Mrs. Forrester in that she refuses to submit to the oppressive, invasive expectations of honor and lady-like behaviour and become an passive, tragic victim, although she remains in the old past, while Mrs. Forrester adapts to changes and envisions for the future.

Drawing Indians: The Politics of Representation in Jeff Barnaby`s Rhymes for Young Ghouls

부경숙 ( Kyung Sook Boo )
한국영미문화학회|영미문화  15권 3호, 2015 pp. 197-221 ( 총 25 pages)
6,500
초록보기
Jeff Barnaby`s 2013 film, Rhymes for Young Ghouls, examines the history and legacy of Canada`s residential school system by focusing on Aila, a teenaged girl on the fictional Red Crow Reserve in the 1970s, and how her family and young life are shattered by the violence unleashed on First Nations Peoples by the residential school system and the Canadian government. This essay argues that Rhymes for Young Ghouls uses art as a form and medium of resistance to genocide and cultural erasure, not only in particular scenes through the artwork of Aila and her mother or through the incorporation of the graphic novel format into the storytelling of the film, but also through the medium of film itself. Contextualizing this argument by the current Change the Mascot Movement and theories of the politics of representation in popular culture texts, this essay connects the usage of art as a form of resistance in and by the film with a larger discussion of the politics of representation for Othered peoples in general.

“저자의 죽음”: 저자, 역사, 그리고 주체(성)

원영선 ( Young Seon Won )
한국영미문화학회|영미문화  15권 3호, 2015 pp. 223-250 ( 총 28 pages)
6,800
초록보기
In spite of its long-lasting critical influence upon literary theory, the notion of “the death of the author” offered by pioneering Roland Barthes and Michel Foucault has been challenged by many scholars during the last fifty years or so. As Sean Burke has pointed out, in truth, “the principle of the author most powerfully reasserts itself when it is thought absent” (7), which makes it difficult for any critic to take up the topic freshly today, charged as it is with contemporary controversies upon politics and power involved in the institution of literature itself. Coming back to classical texts and re-open the topic, however, this study aims to look afresh into the question of why the “author” still matters, not only in literary theories but also in critical practices. The classical texts of Barthes and Foucault are the starting point for the discussion, through which the study attemps to (re)locate the missing link to fill the space that “the death of the author” has left void, and further connect it to the current critical invocation of the “return of the author.” Examining Marxist and Feminist critics such as Terry Eagleton, Nancy Miller, and Cheryl Walker, who have illuminated both historical significance and ahistorical failure of “the death of the author,” the study further looks into how and why today`s historical reality still demands a sense of history and agency in the notion of the “author” as Lynne Tillman as an author and a critic/reader calls for in her discussion of the writing and reading experience. Less theoretical and more personal as it is, Tillman`s configuration of the writing and reading self sheds light on the significant role of agency, albeit tactical and practical in its critical function, in the notion of the “author” since it links the author and the reader as historically and sometimes personally engaged producers of the meanings in ways that make them accountable to the historical moment.
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