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논문검색은 역시 페이퍼서치

비교문학검색

COMPARATIVE LITERATURE


  • - 주제 : 어문학분야 > 기타제어문
  • - 성격 : 학술지
  • - 간기: 연3회
  • - 국내 등재 : KCI 등재
  • - 해외 등재 : -
  • - ISSN : 1225-0910
  • - 간행물명 변경 사항 :
논문제목
수록 범위 : 59권 0호 (2013)

디지털 기술시대의 대중예술과 소녀의 복제

한지희 ( Ji Hee Han )
한국비교문학회|비교문학  59권 0호, 2013 pp. 277-299 ( 총 23 pages)
6,300
초록보기
This paper proposes ``cultural engineering`` as a new term for cultural analysis and explores the social meaning of pop-art in the digital age. Based upon Jody Berland`s notion of "cultural technologies," this paper takes note of the digital-based lifestyle that allows contemporary urban laborers to use digital spatial-temporal modes of existence at their commands. By framing such digital transformation through the tools of ``copy,`` ``cut,`` ``past,`` and ``send`` in the context of genetic engineering technologies such as gene-splicing and cloning, it makes attempts to understand the social dimensions surrounding the popular desire for re-making the original and to muse over the social potentials of the new digital culture: whether it will be able to promise the social empowerment for the digital masses as Walter Benjamin responded to the emergence of the cinema in the early twentieth century. As for praxis, this paper applies the new term to the analysis of director Kim Ji-woon`s "Janghwa, Honglyeon" and Charles and Thomas Guard brother`s "The Uninvited: A Tale of Two Sisters and tries to reveal the patriarchal lag that two cinematic editions of a traditional Korean folk tale "Janghwa and Honglyeon" conceal in the process of cloning the sexuality and body of "Sonyeo." In doing so, this paper suggests Korean teen-age girls still remain the specter of the patriarchal texts of girlhood since Janghwa and Honglyeon.
초록보기
Assia Djebar, one of the most important francophone writers in North African literature, has explored the difficulties for a Muslim Algerian woman to write about herself using the language of the French colonizer. Djebar approaches the problem of constructing a politics of identity from a transnational perspective, recognizing and foregrounding the historical specificity of their individual experiences and asserting that in a responsibly transnational critique of constructions of identity, historical contexts cannot be dismissed. Her autobiographic texts, L`Amour, la fantasia and Vaste est la prison, share a focus on transnationalism, an emphasis on the historical, global, and contextual specificity of experience, particularly as it relates to questions of language. Djebar have the potential to show a larger complexity of depictions of otherness than other forms of writing. She continues to rebel against western normativism and show her wish to distinguish her writing from autobiography western. In her texts, Djebar blurs the boundaries between autobiography, fiction and history in order to utilize the subversive writing. She complicates the notion of linear history, presenting an alternative view of the interdependence of the personal and the national. She articulates the fragmented “I” of the narrative and tries the reconstruction of history and the feminine “I.” Her unique rhetorical strategies disturb the predominant construal of Western socio-cultural understandings of subjectivity as representative of individualism. Djebar challenges traditional patriarchal structures by demonstrating the richness of Algerian women`s multilingual cultural heritage. Djebar inhabits a textual universe where the self-presence of origins enters into a transversal mouvement with plurality, transcendence, desire and openness to the Other.
6,300
초록보기
This paper explores the topics of bilingual writing and transnational literacy by examining Indian English writer Arundhati Roy`s essays and her novel, "The God of Small Things." Roy speaks two languages, Malayalam and English. She won the Booker prize in 1997 for "The God of Small Things," her first novel, and became well known in English-speaking countries. She has since written political essays and published them in prominent English journals and newspapers. By focusing on the paradox of being a successful Indian-English writer, who is critical of the colonial legacy of British imperialism and of contemporary globalization, this paper analyzes the liminal consciousness in the bilingual writing of Roy mixing English and Malayalam, and examines the radical meaning of transnational literacy in the sense of Roy going beyond the boundaries of the dominant language and knowledge adjusting themselves to the process of globalization. Liminal characters such as Esther, Rahel, Velutha, and Ammu in Roy`s novel act as transgressors, are hurt, die, or become mute because of the violence done to them by those who are dominant in India`s social orders. These social orders and India`s colonial legacy persist, reproducing their narcissistic identities and not allowing anyone to transgress them, and strengthening themselves by sacrificing those who do attempt to transgress. This kind of violence can be seen in the liminal spaces between languages, castes, religions, and social habits in India from the 1960s through the 1990s, the period reflected and depicted in the novel.It is supposed that consistencies exist between India of the 1960s, independent but not fully free from its colonial legacy, and India of the 1990s, facing the turbulent wave of globalization. The paradox of Roy`s position as a bilingual writer using English while the colonial legacy of imperial England and the globalization led by western countries looms in the background relates to the issue of transnational literacy, which should be reconsidered in this postcolonial and globalized era. Such reconsideration might expose the ways in which transnational literacy would be partial and unequal in its treatment and ability to reach people isolated from globalizing processes, who have been and are the victims of knowledge that results from colonial legacies and that serves the ongoing dam building and nuclear experiments implemented under the name of developmental nationalism in India. Roy`s novel and essays are particularly critical of this kind of nationalism and globalization and invite the small people to work against the big processes, which rely on specialized knowledge that has been tainted by power and money and has led to the exploitation of the illiterate and the poor. This paper examines these critical points in Roy`s writing and focuses on transnational literacy, which should be reformulated in terms of the unknown or ignored aspects of global knowledge production.

특집: 이중언어작가 : 혼돈의 조율 -베케트, "워드싯" 그리고 형식의 이슈들

( Kelly S Walsh )
한국비교문학회|비교문학  59권 0호, 2013 pp. 353-376 ( 총 24 pages)
6,400
초록보기
조르주 뒤뛰 (Georges Duthuit) 와의 대화에서 사무엘 베케트는 그의 예술적 정언명령이 "표현할 대상도, 수단도 없으며, 표현의 가능성이나 힘도 욕망도 없이, 표현해야할 의무와 더불어" 지속되는 어떤 것으로 묘사하고 있다. 주요 작품들을 불어로 쓴 아일랜드 태생의 베케트는 자신의 작품을 추후 영어로 번역하며 모국어와 고국을 스스로 박탈함과 동시에 강박적으로 그것으로 회귀하고자 하는 경향을 보여준다. 이러한 미적 감수성과 작품의 이중적 존재와 더불어 그는 자신의 것이자 자신의 것이 아니기도 한 독특하고, 낯선 미지의 목소리를 창출해낸다. 따라서 우리가 그의 작품을 "모던"하고 "트랜스내셔널"하다고 말할 때, 그것은 바로 그러한 특성이 패러독스이자 아포리임을 받아들이는 것을 의미한다. 요컨대 그의 주인공들은 점점 "한갖" 글쓰는 목소리들로 격하되어, 마침 그들이 언어와 의미의 "혼돈" 속에 빠져있을 때에 뿌리상실과 이해불가능성의 첨예한 감각을 표현하는 것이다. 그러한 목소리들이 무관심으로부터 벗어나고자 혼돈을 조율하려 시도하고 또 실패하면서, 그것들은 불가피하게 - 문법 속의 신과 더불어, 의미를 부여할 종결에 대한 믿음이 없는 - 하나의 긴 문장임이 드러난다. <무(無)를 위한 텍스트들> 과 <어떤가요> 와 같은 작품들은 무능과 실패의 독특하고 역동적인 미학을 실행시키면 서구문명의 잔해와 화석으로부터 일관된 정체성을 형성하는 일의 실패들을 그리고 있다. 완성되지도 종결되지도, 그렇다고 무(無)를 성취하지도 못하면서 목소리들은 결국에는 그것들을 지지하는 혼돈에 더 많은 "워드싯"을 더하면서 지속된다. 이러한 패러독스에서 베케트가 이끌어내는 결코 잠재울 수 없을 듯한 에너지를 통해 우리는 단지 혼돈 속에 머무는 것에서 어떤 고통스러운 감동과 찬탄을 발견하게 된다.
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