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논문검색은 역시 페이퍼서치

근대영미소설검색

British and American Fiction


  • - 주제 : 어문학분야 > 영문학
  • - 성격 : 학술지
  • - 간기: 연3회
  • - 국내 등재 : KCI 등재
  • - 해외 등재 : -
  • - ISSN : 1229-3644
  • - 간행물명 변경 사항 :
논문제목
수록 범위 : 9권 2호 (2002)

Mark Twain`s Southern Heritage: Old Southwestern Humor and A Connecticut Yankee in King Arthur`s Court

( Young Jong Yoo )
한국근대영미소설학회|근대영미소설  9권 2호, 2002 pp. 227-246 ( 총 20 pages)
6,000
초록보기
Louis D. Rubio, Jr., in The History of Southern Literature (1985), points out that, to many Southern critics, Mark Twain holds a curious place because he does not seem to conform to what is generally considered the model of Southern literature: he does not seem to have a Southerner`s compulsion to tell about the South and to explain the South to others. Despite his desire to appear more than a Southern writer, however, Twam`s works display, implicitly or explicitly, that he is caught up in the mixture of fascinations and myths that bemused and tormented every Southern writer. Furthermore, his writings show his indebtedness to Old Southwestern humorists. Like Southwestern humorists, Twain wrote comic stories deeply rooted in the folklore and tall-tales of the region. His stones, A Connecticut Yankee in King Arthur`s Court in particular, share the strain of exaggerated and excessive cruelty and violence commonly found in the Southwestern yarns. Despite this similarity, examined within the context of the whole story, the comic elements in A Connecticut Yankee evoke horror rather than laughter. They reveal the metaphysical terror Twain finds in both the antebellum South and post-Civil War America. In other words, unlike Old Southwestern humorists, Twain did not always transform violence and horror to humorous narratives. In other words, A Connecticut Yankee, like many of his later fictions, transcends the generic confinements of Old Southwestern humor and, at the same time, reveals that Twain is indeed an errant son of the South who inherited and transformed Southern literary traditions, both in thematic and formal aspects.

A Case of Racialized Gender Trouble in Westward Ho!

( Suk Koo Rhee )
한국근대영미소설학회|근대영미소설  9권 2호, 2002 pp. 247-264 ( 총 18 pages)
5,800
초록보기
In Victorian cultare, manliness was one of the most cherished values Probing into the gender dynamics of Victorian society confirms the suspicion that it had a strong need to emphasize masculinity. In the same context, Charles Kingsley`s advocacy of athleticism and masculinity can be understood as an attempt at re-establishing the traditional gender roles and identities in the face of sexual and gender transgressions. The famous controversy between Kingsley and Newman, which was started off by the former`s imputation of "perversion" to the latter, illustrates the hunting parson`s anxiety about the instability of gender (masculine in this case) roles. Although the controversy was clothed in a religious language, it actually evolved around Kingsley`s suspicions about Newman`s celibacy and effeminacy, Which, as Oliver Buckton and others report, had a sexual connotation of male-male desire for Victorians. Kingsley`s sudden withdrawal of support for the women`s cause can also be attributed to a similar gender anxiety, that is, the parson`s shockinng discovery of the "unwomanly" behavior of women activists. Placed in this context, Kingsley`s Westward Ho! yields a dimension that bears on the gender politics of his days. This historical novel, as the author made it clear, was meant to be a paean to the valor and masculinity of the British imperialists. However, this racial narrative turns out to fulfill an unacknowledged mission of policing and re-configurating problematic sexualities. Especially the story about Ayacanora exorcises mid-Victorians` anxiety about the instability of gender identities by successfully re-inscribing a "correct" gender on the body of an "aberrant" female subject.

Poe the Feminist?: The Return of the Rejected in Poe`s Dying Woman Stories

( Yon Jae Jung )
한국근대영미소설학회|근대영미소설  9권 2호, 2002 pp. 265-281 ( 총 17 pages)
5,700
초록보기
In "The Philosophy of Composition," Poe makes a notorious claim that is central to his artistic creation: "the death of a beautiful woman is, unquestionably, the most poetical topic in the world" This aesthetic principle clearly accounts for why Poe`s young, attractive heroines have little chance of survival in his fictional world. The female characters often die of unknown fatal diseases or experience horrible deaths mutilation, poisoning, strangulation, decapitation, suffocatinmg and premature burial. It is thus not surprising that during the past three decades Poe`s portrayal of women in such tales as "Berenice," "Morella," "Ligeia," "The Fall of the House of Usher," and the Dupin tales has haunted feminist literary critics. Despite the dominant feminist view of Poe as the horrible Gothic victimizer, recent revisionist critics claim that his seemingly negative attitude toward women needs a more careful reconsideration and should not be simply dismissed as misogynist. In this paper, I intend to use the emerging revisionist insights in my Lacanian-infonned reading of Poe`s dying woman stones. I Will recontextualize the unsettling and subversive resurgence of the dead or dying woman in Poe`s "The Fall of the House of Usher," "Morella," "Ligeia," and "The Oval Portrait." in the light of the traumatic return of the Lacanian Real Whether he was the true vanguard of male feminists will long remain a matter of dispute among cCritics, but there can be no question that it is time to revaluate the "Real" Poe, more than a tormented, misogynistic nineteenth-century American writer.

The Trouble with Characters

( Catherine Gailagher )
한국근대영미소설학회|근대영미소설  9권 2호, 2002 pp. 283-302 ( 총 20 pages)
6,000
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