김은성 Kim Eun Seong

DOI: Vol.49(No.3) 423-447, 2003

In Snyder`s ecological vision, we can find his attempt to dismantle a homo-centric perspective of the universe and the ego-centered human self, and to search for responsible human ethics and wisdom for cultural maturation. Snyder`s ecological vision stresses nature`s intrinsic way and value. Although his vision looks sometimes utopian, it is not ideal but practical and political. For Snyder, appreciating nature goes beyond appreciating its intrinsic values and condemning the problem of civilization to doing right and establishing a life style congruent with nature. This is his ecological vision, in which the social, political, and ethical programs originate and interact. Like other ecological writers and critics, Snyder believes that degradation of nature has been repeated in the conspiracy of religious, economic, and political forces of human civilizations from ancient times up to the present. Because of this degradation, the Western history of civilization has alienated itself from nature and drained its original source as well. According to Snyder, human alienation from nature and its process means the loss of what he calls original mind and disintegration of consciousness which existed integrally in the mind. The disintegrated consciousness projected dualistic boundaries and then has been reinforced in the dualism so that the human world operates by the discriminations, such as anthropocentrism, racism, and sexism. To overcome the problems, Snyder stresses the process of gaining vision, introducing the non-West-em alternative perspectives such as Zen Buddhism and Native American shamanism, which enrich and deepen his understanding of principles of nature`s way. For Snyder and other ecologists, the most fundamental solution for the fragmented consciousness and fatality it causes is of course to attain a more objective consciousness. As a spiritual deep ecologist, Snyder exhorts himself and others to reach the new frame of mind with deep ecological consciousness and spiritual practices.

생태학, 영적 심층 생태주의자, 원래의 마음, 자아변형, 정신적 수행, Ecology, spiritual deep ecologist, original mind, self-transformation, spiritual practice,영미문학, 문화연구, 비교문학, 비평이론, English and American Literature, cultural studies, comparative literature, critical theory

윤정길 Yun Jeong Gil

DOI: Vol.49(No.3) 449-474, 2003

Rochester, accused of nymphomania and madness. Rochester is a representative of 19th Century Europe, and views himself as a normative figure, judging all "Others" by a set of standards which place white males atop the hierarchy. Jean Rhys explores the intersecting forces of racism and sexism, as manifested in a single character, whose abuse of station and power becomes emblematic of the abuse of the larger society, However, discerning readers may uncover another layer of the story. Wide Sargasso Sea prophesies a downfall of white male power through the psychic and physical destruction of Rochester. This paper will examine how Rochester is dominated, enthralled, bewitched and even hypnotized by racial and sexual "Others" he encounters. Having been given his power by virtue of his race, class and gender, Rochester`s ersatz power is ridiculed throughout the novel as he is compared to and contrasted with the racial others. This paper will also analyze how the dissolution of his mental and psychic stability is depicted linguistically. And finally, the reason why Rhys describes Rochester as a victim and not an oppressor will be explored. In part Ⅱ of the novel, wherein Rochester is the narrator, his narrative is interrupted by Antoinette`s voice twice, subsumed by the voice of Daniel, a male of mixed race, and is further dominated and confused by other black and female voices. Part Ⅱ starts with a logical prose style but ends with a stream of consciousness style. His narrative becomes progressively illogical and fragmented, jumping from one subject to another. By using the conjunction, "and" repeatedly, instead of reinforcing distance and difference by describing thing or concepts in the context of an "either∼or" dichotomy, Rhys combines and equalizes concepts to give them parallel standing: male/female, civilization/nature, empire/colony, the Subject/the Other-all are given more equal power and significance by Rhys. By using such grammatical devices, Rhys decries and attempts to emend the hierarchical structure of society.

제국주의, 가부장제도, 백인우월주의, "타자", 억압, imperialism, patriarchy, white supremacy, the Other, oppression,영미문학, 문화연구, 비교문학, 비평이론, English and American Literature, cultural studies, comparative literature, critical theory

김봉은 Kim Bong Eun

DOI: Vol.49(No.3) 475-494, 2003

The interpretation that Twain`s discourse changed from conservative in his early texts into liberal in his late texts has been dominant among Twain scholars. Ethics and ecology, the two upcoming disciplines in academia, subvert the dominant interpretation. French philosopher Michel Foucault`s "ethics of experimentation" discussed in later work, The Use of Pleasure (1984), in association with Australian environmentalist Lesley Head`s "non-equilibrium ecology" introduced in Cultural Landscape and Environmental Change (2000), illumines the experimental and revolutionary aspect in Twain`s early travelogue Roughing It (1872). In contrast with American historian Frederik Turner`s "The Significance of the Frontier in American History" (1893), which claims the power of myth as a means to overcome disorder, Twain`s early discourse reveals its demythifying post-anthropocentric prevision, the ethics of experimentation.

마크 트웨인, 『야영』, 미셸 푸코, 실험의 윤리, 생태학, Mark Twain, Roghing It, Michell Foucault, ethics of experimentation, ecology,영미문학, 문화연구, 비교문학, 비평이론, English and American Literature, cultural studies, comparative literature, critical theory

박경운 Park Gyeong Un

DOI: Vol.49(No.3) 495-519, 2003

Unlike most nineteenth-century women`s texts which faithfully follow and even deepen the dominant male-centered culture and ideology, there are a few texts which women writers have voices and opinions of their own. In the texts I`ve chosen here, there have appeared a few women artists who are independent, liberated, and resistant enough to question long-standing institutions and conventions that have controlled women`s lives for a long time. I will mainly focus on women artist figures that the three most disobedient and opinionated nineteenth century women writers such as Fanny Fem (Sara Willis Parton), Charlotte Perkins Gilman, and Kate Chopin had created. In comparison with the women artist images such as spinsters, mad women, widows, social outcasts that male writers created in their literary texts, women writers created women artists in terms of showing an independent role model, becoming a subject of her life, and crossing the irrationally restricted lines. The woman writer, Ruth Hall from Fanny Fern`s Ruth Hall (1855) is the first woman artist figure who reaches economic independence through her creative writing and proves herself to be a woman artist model. The nameless woman artist narrator of Gilman`s "The Yellow Wallpaper" (1898) tries to resist against the male-dominated textual space to make herself as well as other artists more unique and of her own element. Edna Pontellier and many other women artists that Kate Chopin created in her texts, including The Awakening(1899), challenge all kinds of then-current barriers such as gender, hetero-sexuality, christianity, marriage institution, and motherhood. In all, images of women artists presented in the above nineteenth-century women writers` texts seem to be much more independent, strong-willed, and challenged than most images presented in the male writers` texts of that age. Although they couldn`t reach the aesthetic level and quality of male writers, they needed to build their own subjective space and status in an unfavored society toward women. They needed to establish their own original and independent texts and defy the conventional barrier rather than simply mimic the aesthetics or artistic styles that the male writers had established.

여성예술가, 경제적 독립, 여성 텍스트, 자기변호, 모성애, women artists, economic independence, woman writer`s text, self-vindication, motherhood,영미문학, 문화연구, 비교문학, 비평이론, English and American Literature, cultural studies, comparative literature, critical theory

장남수 Jang Nam Su

DOI: Vol.49(No.3) 521-539, 2003

This paper aims to examine Dickens`s Hard Times, on the assumption that its representation of the Benthamite Utilitarianism shows the disciplinary strategy of capital. Bentham`s `method of detail` turns out to be closely related to some essential characteristics of the capitalist economy ; the emphasis on the spirit of abstraction and calculation, the reduction of qualitative differences to quantitative differences, and so on. This alleged spirit of progress, contrary to its promise of the enlightened future, breeds not only uniformity and mechanical repetitiveness, but also misery and numbness in Coketown, locus of Hard Times. The strength of the Gradgrind-Bounderby regime is ultimately secured by the spread of `normalized selves,` which are produced by the disciplinary operations of the complex of Utilitarianism and political economy. Their repression of curiosity and wonder inherent in children is a primary way of producing the fragile selves vulnerable to the dominating interests, opinions, and forces. However, there will be no future if we simply tread in the Utilitarians` disciplinary footsteps. Herein lies the importance of identifying and promoting the genuine self, i.e., Blake`s `identity`. Sissy, empowered with the strong individuality and creativity, vigor and energy, opposes the grounding principle of this regime and represents "another thing needful" to prevail over this inhumane spirit in Coketown. Dickens in Hard Times might be said to prefigure Foucault`s notion of discipline. He doesn`t just anticipate him, but goes further. Dickens, through Sissy, shows us the way out of the Foucauldian dilemma, which comprises astutely diagnosing the omnipotent and omnipresent power of disciplinary machinery without providing an alternative. It is this point in which Dickens`s greatness as a creative writer lies.

공리주의, 합리성, 훈육전략, 푸꼬, 미시파시즘, "닫힌 자아"와 "열린 자아", Utilitarianism, rationality, disciplinary strategy, Foucault, microfascism, "selfhood" and "identity",영미문학, 문화연구, 비교문학, 비평이론, English and American Literature, cultural studies, comparative literature, critical theory

김성중 Kim Seong Jung

DOI: Vol.49(No.3) 541-563, 2003

The purpose of this paper is to restore the subjectivity of Wordsworth, which has been annihilated by many New Historicists who would not allow a poet the ability to overcome the prevailing ideology in his/her society. These critics, comparing with William Gilpins Observations on the River Wye, argue that Wordsworth disguises the ugly social situation in Tintern Abbey by failing to mention anything about the abbey where, they presume, the beggars were prevalent at that time. Contrary to their argument that the abbey must be the main concern in the trip to that area, however, a closer look into Gilpins book reveals that he himself was also impressed much more by the natural landscape around it than by the abbey itself. This is a good example showing that the New Historicists are too predetermined negatively on Wordsworths subjectivity to have an objective perspective of his poetry. Since the New Historicists reject Wordsworths subjectivity, they tend to compel from him the right ways, in their eyes, to express in poetry, leaving no latitude of how to express his feelings poetically. David Simpson, for example, is not satisfied with the way in which Wordsworth tells the story in Michael because he believes that the poet should give more details about what exactly caused the tragedy of Michaels family. Their intruding attitude toward what a poet should say seems to be what Theodor Adorno was concerned about in the late capitalist society, In such a society where mass production is prevalent, individualities of people become fungible and replaceable : the non-identical are treated as if they are identical. Thus, when we defy the principle of identification in capitalism, the subjectivity of the poet will be treated fairly.

신역사주의, 주체성, 워즈워스, 아도르노, 틴턴 수도원, New Historicism, subjectivity, Wordsworth, Adorno, Tintern Abbey,영미문학, 문화연구, 비교문학, 비평이론, English and American Literature, cultural studies, comparative literature, critical theory

강규한 Kang Gyu Han

DOI: Vol.49(No.3) 565-581, 2003

Henry David Thoreau has been regarded as a patron saint of ecology, his Walden being a key point of reference in literary ecology. The currents of the study in the field, however, have focused mainly on nature untouched by man. As a result, Walden is appreciated by many leading ecocritics as a text in which wild nature is vividly portrayed with the unmediated language of reality. Undoubtedly Walden is largely wrought with descriptive and non-anthropocentric language. But language is basically tainted by human perspectives, and therefore, it is not possible to describe nature and wilderness without metaphorizing. In reality, it is not nature itself and as such but a kind of humanized nature that is depicted in Walden. The question of hunting presented in the text also confirms the interrelation between man and nature. Deconstructive studies on Walden point out the inevitable discrepancy between nature itself and how it is described by man and his language. Accepting the discrepancy without reservations, however, may lead to losing sight of the dynamic flow toward nature as well as the constant tension between human motivation and nature found in the text of Walden. It is important to note that the Thoreau`s work makes strenuous attempts to reach real nature, even while conceding that this quest can be made only by man, through his language. This reading of Walden may open up not only a new understanding of Thoreau`s work but also a new horizon of ecocriticism one that extends far into the whole canvas of literary ecology without reducing it to a narrow line of nature-oriented literature. It can be concluded that Walden remains an essential touchstone for building a new model of literary ecology.

문학생태학, 자연글쓰기, 자연문학, 인간중심주의, 생태비평, 사냥, Literary Ecology, nature writing, nature-oriented literature, homopocentricism, ecocriticism, hunting,영미문학, 문화연구, 비교문학, 비평이론, English and American Literature, cultural studies, comparative literature, critical theory

심경석 Sim Gyeong Seog

DOI: Vol.49(No.3) 583-602, 2003

This paper examines the Vietnam War`s aftereffects on veterans in Larry Heineman`s Paco`s Story and Bobbie Ann Mason`s In Country, which are pervaded with haunted ghosts and war memories. Both novels transcend the simplicity of anti-war literature and delve into the complexity of human relations created by horrible war experiences. Despite the authors` difference in gender and their war experience, both novels surprisingly share many characteristics in the narratives when they represent the veterans` lives and their psychology : They suffer from horrible memories and terrifying war experiences, and their bodies become the emblems of their physical and psychological scars. They seek inner peace and try to avoid the recurring memories that are continuously inflicted on their psyche. In particular, the lonely survivors from the battlefield, Paco and Emmett, the protagonists in their respective novel, focus on order and pattern in their lives to assuage their psychological pain. However, the two novels are quite different in their dealings with women`s attitudes toward the Vietnam War and its veterans. Indeed, women are crucial to defining the society`s view of them in each narrative. Paco`s Story persists in the prevailing ideology that women cannot grasp war experiences, as is shown in Cathy`s distorted relationship with Paco. In a sense, the novel proves the veterans` ambivalent feelings toward women who they feel are benefits of their sacrifices. However, in Mason`s novel the women`s rehabilitating power is emphasized, which enables a despairing veteran to regain his strength and desire for life. The author endeavors to prove that women can understand the war`s unspeakable chaotic experiences. Through such women`s sympathy toward the veterans and Sam`s identification with a name that matches hers in the wall of the Vietnam War Memorial at the end of novel, Mason declares the ending of the mourning process of the Vietnam War. The two opposite endings of the narratives reveal the not yet resolved feelings and conflicting emotions which still exist in the American society concerning the war.

여성, 참전 용사, 기억, 『파코의 이야기』, 『베트남에서』, women, war veteran, memory, Paco`s Story, In Country,영미문학, 문화연구, 비교문학, 비평이론, English and American Literature, cultural studies, comparative literature, critical theory

전승혜 Jeon Seung Hye

DOI: Vol.49(No.3) 603-626, 2003

Critical discussions of Our Mutual Friend(OMF) often dissociate the public sphere of speculative capitalism and the private sphere of domestic virtue, paying little attention to many historical strands which have worked into the construction of Victorian domestic ideology. I have attempted to read OMF in the historical context of England`s new economic climate of the late 1850`s and early 1860`s which followed the Joint Stock Companies Act of 1856. With its general limited liability, the new financial arrangements generated fears about moral ambiguities as well as an unprecedented speculative boom. This paper explores the characteristics of the speculative world of capitalism presented in OMF, and Dickens`s `woman ideology` in its relation to the new economic climate. The dynamics of speculation generated by the principle of `money makes money` is presented through the `Society` of the Veneerings. The world, where the `exchange value` prevails over `intrinsic value,` floats without an anchor. In this world of OMF, an ideal woman, an incarnation of morality and value, is missing. Bella Wilfer has to learn to overcome her lust for money in order to be a woman with domestic virtue. And Lizzie Hexam comes back from her flight only after Eugene Wrayburn realizes the superiority of morality over his sexual lust near the end of the story. My research demonstrates that Dickens`s attempt to bring back his ideal woman, the bearer of `intrinsic value,` to a world deprived of any reliable criterion to tell right and wrong reveals inherent contradictions and limitations of his `woman ideology,` and these contradictions and limitations imply Dickens has attempted to overturn traditional Victorian woman ideology. Changes in Dickens`s attitude toward traditional Victorian woman ideology show that he no longer supports and believes in the Victorian middle-class systems of value in political, social, moral problems.

찰스 디킨즈, 『우리 서로의 친구』, 여성, 주식회사법, 돈, Charles Dickens, Our Mutual Friend, woman, the Joint Stock Companies Act, money,영미문학, 문화연구, 비교문학, 비평이론, English and American Literature, cultural studies, comparative literature, critical theory

김일영 Kim Il Yeong

DOI: Vol.49(No.3) 627-649, 2003

The purpose of this paper is to investigate Fielding`s view of world and literature by analysing the nature of dual representation in Joseph Andrews. The dual representation in Joseph Andrews is the result of mixing two literary genres, that is, comedy and romance, which form a striking contrast with each other in their literary modes. Along with its romantic devices such as Andrew`s birthmark and his fear of incest, elements of romance in Joseph Andrews are Presented in the Plot of the novel, which is characterized by the happy marriage between its hero and heroin, while the genre of comedy is manifested in the realistic and comic description of a series of adventures which Adams and Joseph undergo during their journey to Adams`s parish. Fielding, however, did not employ these genres separately in this novel. In the dual light of comedy and romance, he represents Betty`s story and the story of Wilson, which are described simultaneously in the languages of vulgar comedy and ideal romance. The reason that Fielding mixes two distinctive genres in Joseph Andrews is that Fielding, a Christian writer who believes in Providence, regards the world as the embodiment of Providence, whereas he, a former justice, is aware of the unrealizability of such poetic justice in this world. With Fielding, who underwent epistemological crisis in the transitional period, the dual representation of mixed genres in Joseph Andrews is not a matter of choice, but a requirement indispensable for the manifestation of his dual attitude to life and world.

이중적 재현, 로맨스, 코미디, 신의 섭리, 인식론적 위기, 필딩, 조셉 앤드류즈, dual representation, romance, comedy, providence, epistemological crisis, Fielding, Joseph Andrews,영미문학, 문화연구, 비교문학, 비평이론, English and American Literature, cultural studies, comparative literature, critical theory

유제분 Yu Je Bun

DOI: Vol.49(No.3) 651-669, 2003

Domestic studies on ethnic American literature has mainly focused on its "difference as resistance." In the process of criticizing imperialism and its dominant power, the identity of ethnic literature can be ironically reduced to the unique possibility, that is, "resistance." Despite their intention, this kind of approach naturally tends to exclude the ethnic literature as "their own literature" rather than including it into the American Literature in general. Keeping this in mind, this study attempts to relocate the position of ethnic American literature in the tradition of American literature, focusing on the similarity between the trait of magical realism in Maxine Hong Kingston`s Woman Warrior, China men and Toni Morrison`s Beloved and the romance tradition of the American literature in the 19th century. The ethnic writers cannot be completely free from the demand of their community to represent their own ethnic history and culture in their writing. Their novels frequently have been understood as ethnographies, a realistic record of their own community rather than as fictions. However, the mixture of fantasy and realism in the narrative modes of the ethnic writers such as Kingston and Morrison can be interpreted as a means to free from ethnography and at the same time to deliver their ethnic culture in their own creative way. The narrative technique such as "montage" in these novels can be another important means to find new identity of ethnic literature. The above three novels appear to share with the view of life of magical realism in the Latin America. Their understanding of life is that reality is based on the real and fantasy as well. This view of life can also date back to Nathaniel Hawthorne`s romance novels in the 19th century. The literature and culture of the U.S.A. in the 19th century was still under colonial situation. The aspects of mysterious fantasy in reality depicted in "Young Good Man Brown" or in The House of Seven Gables can be interpreted as an attempt to find an identity of American literature.

마술적 리얼리즘, 에스닉 미국문학, 로망스, 판타지, 저항, Magical Realism, ethnic American Literature, romance, fantasy, resistance,영미문학, 문화연구, 비교문학, 비평이론, English and American Literature, cultural studies, comparative literature, critical theory