김재환 Kim Jae Hwan

DOI: Vol.50(No.1) 3-26, 2004

There have been a lot of disputes among Chaucerians concerning the line, "I trowe he were a geldyng or a mare." But the medieval evidences and the modern critical positions derived from them are discursively fragmentary and contradictory. And the fictional body these discourses produce is as unstable and discoherent as they are. As Carolyn Dinshaw remarks. "the Pardoner is uncertainly sexed and uncertainly gendered, a man who is not a man, womanish but not a woman." There have also been a 1ot of disputes concerning the Pardoner`s offering to the pilgirms relics he had already admitted to be false. He said just before the beginning of the performance that Christ`s, not his own, pardons are best. Kittredge described it as a "paroxysm of agonized sincerity," but it grew out from the view in which the Pardoner`s behavior was understood in terms of heterosexual normativeness. The Pardoner is an unstable creature who is uncategorizable in the binary gender terms of heterosexuality. He is in fact a man who is faking there and being sincere here and thus wanders between truth and falsehood. What the Pardoner shows in his performance is a dubious standard to distinguish between truth and falsehood, normality and abnormality and wholeness and deficiency. The Pardoner`s behaviors of disturbing the heterosexual normativeness remind us of the queer theory. The queer critics try to subvert the difference between the normality and the abnormality and defend the otherness of marginalized men and women. Chaucer`s study of sexuality in the Pardoner represents a deliberate intention to explore the inner reality of an outcast despised by his society and misunderstood by his church. Chaucer, through the Pardoner that figure utterly different from the other men and women, that figure of fundamental absence leads his listeners to contemplate another being entirely out of their bounds.

Chaucer, Pardoner, homosexuality, queer, partial objects, 초서, 면죄사의 이야기, 동성애, 퀴어, 국부적 객체,영미문학, 문화연구, 비교문학, 비평이론, English and American Literature, cultural studies, comparative literature, critical theory

김영덕 Kim Yeong Deog

DOI: Vol.50(No.1) 27-55, 2004

Drawing on the discourse of emerging disability studies, this paper examines the ways in which Peter Barnes represents cultural norms and the dichotomy of normal/abnormal in his The Ruling Class and Nobody Here But Us Chickens-comedies that problematize the constructedness of norms with an intensity unparalleled in the contemporary British theater. Barnes` politics of humor includes the demystifying of the discursive construction of abnormality that reduces people with physical differences to the marked other. To critique the social stigmatization of abnormality, Barnes` comedies invite the spectator to confront the ideological nature of normalcy that reinforces the ruling order in The Ruling Class and the arbitrariness of normalization that, as dramatized in Nobody Here But Us Chickens, renders disabilities "abnormal." The representation of the "abnormal" body places the spectator in the empowered position of the norm and gives the invisible spectator the freedom to view "others" as theater, a privilege made possible at the price of the onstage body`s otherness. In order to make the spectator see his or her complicity in the construction of a social environment that converts physical difference Into abnormality, Barnes stages the spectator`s laughter and has, at crucial moments, his characters look back at the spectator`s gaze This theatrical strategy, frequently used in feminist and disability theaters, will demonstrate that Barnes, in addressing social themes, pushes the limits of dramatic representation itself. This formal experimentation, combined with his scathing political satire, informs Barnes` politics of de-normalization that, in turn , characterizes the postwar British writers` aspiration for social reform.

Peter Barnes, norm, disability, normalizing gaze, de-normalization, 피터 반즈, 규범, 규범화의 응시, 장애, 탈규범의 정치학,영미문학, 문화연구, 비교문학, 비평이론, English and American Literature, cultural studies, comparative literature, critical theory

박세곤 Park Se Gon

DOI: Vol.50(No.1) 57-77, 2004

The purpose of this study is to trace the development of English infinitives used as objects in terms of use, form, and position on the basis of the relationship between main verb and infinitive from Old English to Middle English by means of an analysis of Beowulf and Canterbury Tales, the masterpieces of the Old and Middle English periods. The number of main verbs with infinitives used as objects was limited to 12 in Old English text but it increased to 27 in the Middle English text, The verbs in this structure were limited to the verb of command, perception, recognition, permission, hope, etc. in Old English, but various verbs were used in the structure in Middle English. This shows that only a few main verbs In Old English got infinitives as objects, but in Middle English many kinds of main verbs got infinitives as objects, The ambiguity of active or passive meanings of infinitives occurred when infinitives were used as objects of the main verbs of perception and command in Old English, and the present study supports the scholars who have the view that the active meaning for the structure is made clear by adding the structural evidence to the sentence (the same structure appeared very often in the structure of `accusative with infinitives`). As objects `(for) to` infinitives were used in Middle English, while uninflected infinitives were used in Old English. This shows that `(for) to` infinitives in Middle English encroached on the area of uninflected infinitives in Old English. The word orders of infinitives in Old English became the normal order like that of Modem English more or less. This change is attributed to the simplification of inflectional endings in the Middle English period.

infinitives, Old English infinitives, Middle English infinitives, English infinitives used as objects, objects, 고대영어 부정사, 중세영어 부정사, 목적어로 사용된 부정사, 통시적 변천과정,영미문학, 문화연구, 비교문학, 비평이론, English and American Literature, cultural studies, comparative literature, critical theory

여건종 Yeo Geon Jong

DOI: Vol.50(No.1) 79-94, 2004

The new millennium has brought out so many changes in most area cf our experience. The emergence of market society is a crucial part of these changes. Market society refers to a form of community which is dominated by market rationality, that is instrumental, utilitarian, functional rationality. The idea of market provides a crucial way of rethinking the major changes in the lives under the advanced capitalism and market models play a primary role in restructuring our understanding of our own community. Human knowledge, basically a vital relation between the self and the outer world, working as an expansion of human self, becomes mere information producing an output with exchange values. On the other hand, general human capacity to develop the ability of thinking and feeling and responding is rapidly marginalized. people are becoming more skeptical of the values these human capacities has cultivated. This is why market society is hostile to the human capacity called culture. Culture is the spiritual, intellectual and emotional resource which satisfies the need for more qualified, more vital and more creative life. In these processes, self-realization is achieved and this is what makes us human being. Marx, especially the young Marx, is the first major thinker who explored the antagonistic relationship between capitalist mode of being and human cultural capacity. The young Marx defines human beings as creative beings. For him human creativity is a synonym for human labor, the productive activity which expands not only the new realm of nature but also human power of self-realization. Thus, the real problem of capitalism is not so much that it leads to social and economic injustice as that it deprives a human being of his creative energy. At least for the young Marx, communism aims at a production of "rich human being with rich human needs" whereas capitalism produces a being only with a "sense of possessing." We call this aspect of Marx "cultural Harx," This paper attempts a cultural understanding of Marx by exploring the key concepts of the early Marx such as human creativity, alienation, self-realization and freedom.

the young Marx, dialectics, alienation, creativity, self-realization, 초기 마르크스, 소외, 변증법, 창조성, 자기 실현, 적극적 자유,영미문학, 문화연구, 비교문학, 비평이론, English and American Literature, cultural studies, comparative literature, critical theory

이문재 Lee Mun Jae

DOI: Vol.50(No.1) 95-119, 2004

T. S. Eliot`s poetry and criticism reflect many literary, religious, and philosophical influences. Several epistemological frames have been found in his literary world, which have made it possible for Eliot`s readers to consider some different philosophers` impacts on Eliot. Among others, two philosophers, Bergson and Bradley, have occupied the most important places in our reading of philosophical influences in Eliot`s poetry and criticism. Until 1964 when Eliot`s doctoral dissertation was first published, Bergson had dominated the reader`s approach to Eliot`s epistemological frames. But, since 1964, Bradley began to replace Bergson`s position in Eliotic studies. As Donald J. Childs points out. over one hundred books and essays on Bradlian impacts on Eliot`s poetics have appeared since then, while there has been a great decline in our study of Bergsonian influences in Eliot`s poetics. Exceptionally two scholars, Paul Douglass and Mary Ann GiITies, paid attention to the whole of Eliot`s texts, focusing on the revelation of Begsonian impacts on Eliot`s literary world. It is noteworthy that Bergsonian epistemology does not completely exclude Bradleian epistemology, There are two epistemological frames in Bergson`s philosophy : monism and dualism, whereas Bradley`s philosophy reflects more consistently monistic epistemology. The monistic elements in Begson`s philosophy show the same epistemologieal approach to our experience as those of Bradley. In this point, Eliot`s rejection of Bergsonian philosophy does not seem to result in his entire dismissal of Bergsonian epistemology, but in a selective choice toward Bradleian philosophy, which, in turn, does not amount to an uncritical acceptance of Bradley. Eliot`s major poems and critical essays prove that Eliot`s poetic ideal was the representation of monistic/unified experience in his poetic world.

monism, dualism, epistemological frame, pure perception, conceptualization, 일원론, 이원론, 인식 틀, 순수지각, 개념화,영미문학, 문화연구, 비교문학, 비평이론, English and American Literature, cultural studies, comparative literature, critical theory

민경숙 Min Gyeong Sug

DOI: Vol.50(No.1) 121-140, 2004

This paper reads The Golden Notebook as a parody, the strategic too1 by which authors can utter two different voices : one to express respect for the imitated model and the other to mock at it. Although parodies have been 1ong considered an effective literary technique which can tell a many-layered discoruse by imitating a model work of art, they are a relatively recent trend that have become a focus in the literary community along with metafiction. The term `metafiction` refers to modern works that art self-reflexive. The Golden Notebook is a metafictional text which is a novel about a writer who has a writer`s block. and at the same time a literary criticism. Doris Lessing who found social realism incapable of describing the divided society where she lived in totality any more came to seek a new form embracing the chaotic and formless reality. Lessing begins with denouncing realism novels, parodying one written by Anna, the heroine of The Golden Notebook, emphasizing that there is no objective world separate from personal consciousness. Lessing also distances herself from modernism novels, parodying their characteristic technique `stream of consciousness` as she finds that memories can be twisted and being conscious all the time can distort reality She refuses their aesthetic attitude and pursuit for High Art insisting on artists` commitment and responsibility in society. The result is that Lessing juxtaposes realism and modernism texts revealing their differences and affinities. And this juxtaposition turns out to be a new postmodern form. Besides parodies about realism and modernism novels, there are other types of parodies such as self-parody, parodies about Anna-Michael relationship, parodies about a young man`s suicide motif, etc.. All of these show that Lessing thinks that change is inevitable in literary forms and society, but the change can be realized slowly through tiring repetitions and radical revolutions, that is, processes of continuity and emancipation.

Doris Lessing, The Golden Notebook, parody, realism, modernism, postmodernism, 도리스 레싱, 『황금 노트북』, 패로디, 리얼리즘, 모더니즘, 포스트모더니즘,영미문학, 문화연구, 비교문학, 비평이론, English and American Literature, cultural studies, comparative literature, critical theory

손일권 Son Il Gwon

DOI: Vol.50(No.1) 141-163, 2004

In this paper, I consider two cases of the fixed meters in English Poetry by stress : accentual-syllabic meter and sprung rhythm. Firstly, in accentual-syllabic meter, a syllable is corresponded to a metrical position and a stressed syllab1e is mostly connected with a strong position according to W≤S. But the one-to-one correspondence between a metrical position and a syllable does not occur in reading poetry when a peak is connected with a weak position. Accordingly, most poets try to avoid violating the constraint Peak that a peak must not be connected with a weak position. The peak connected with a weak position is divided according as it is a monosyllabic word or a lexical stress. For the lexical stress mismatched with a weak metrical position, "W⇒Strength is established by the concept of the strong syllable. The monosyllabic word mismatched with a weak position is divided according to which side of the boundary of a phonological domain it is adjacent to. I suggest [Peak for the mismatched peak which is adjacent to the left boundary of a phonological domain, and Peak] and Adjacency Constraint for the mismatched peak which is adjacent to the right boundary of a phonological domain. Secondly, Sprung Rhythm is the meter where quantity is added to stress. In this meter, the number of strong positions is fixed, but the number of syllables in a weak position is free. Hopkins limited the quantity of each metrical position. I suggest the following constraints for each position by a mora foot(M). (1) a. A weak position contains at most a M. b. A strong position must contain a M. If a weak position contains a mora foot, the syllables between the mora foot and its preceding strong position become a outrider not to violate (la). In conclusion, Sprung Rhythm is more natural by reflecting linguistic characteristics of English than accentual-syllabic meter.

accentual-syllabic meter, W⇒Strength, [Peak, Peak], Adjacency Constraint, Sprung Rhythm, mora foot, 강세-음절율 인접제약, 도약율, 모라음보,영미문학, 문화연구, 비교문학, 비평이론, English and American Literature, cultural studies, comparative literature, critical theory

고부응 Go Bu Ung

DOI: Vol.50(No.1) 165-185, 2004

This essay is an attempt to construct a politics of figurative language on the basis of Aristotle`s notion of rhetoric as an art of persuasion and Jakobson`s notion of language as a constitution of metaphoric similarity and metonymic contiguity. Aristotle`s treatise on language as the art of persuasion opens up the possibility of the politics of language analysis and Jakobson`s figurative understanding of the language structure leads to the analysis of the general use of language in rhetorical terms. Metaphor in figurative language as well as in ordinary language is a representation of the selective similarity in two compared concepts while suppressing differences between them. The political implication of metaphor is to maintain the status quo by privileging the dominance of the represented similarity, Metonymy is the substitution of a non-essential margin for the core idea. Hence, metonymy is the replacement of the status quo order by the marginal contiguous. The political implication of metonymy is to transform the social formation into a new order. However, since the metaphor and metonymy are co-existent in any given rhetorical representation, either one does not wholly suppresses the other. Metaphor is in the status of contingency by the operation of its accompanying metonymy, and so is metonymy by metaphor. Since the dominant hegemony is constructed and maintained by the consent of the subjugated to the power and the consent works through ideology, which functions in and by language, metaphorical and metonymical language analysis is crucial to the deconstructive strategy for a progressive politics.

Rhetoric, metaphor, metonymy, politics, hegemony, 수사학, 은유, 환유, 정치학, 헤게모니,영미문학, 문화연구, 비교문학, 비평이론, English and American Literature, cultural studies, comparative literature, critical theory

손혜숙 Son Hye Sug

DOI: Vol.50(No.1) 187-209, 2004

Dickinson`s various poetic experiments are informed by her struggle with the complex relation between self and what twentieth-century philosophy calls "the Other." But most critics misinterpret her poetic experimentation as a quest for the essential, authentic self. Even much of postmodern theories fails to fully explain Dickinson`s poetry because these approaches also rely on the solitary monologism of the lyric subject. By contrast, I propose that the consciousness constructed in her poetry is engaged in a process of perpetual interchange that denies the sovereignty and independence of either the subject or the Other. Traditionally, death has been interpreted as productive or positive in the mainstream of western ideas. The positive interpretation of death has also formed the mainstream of Dickinson studies. Many critics presuppose that Dickinson accepts death as an unavoidable certainty and becomes aware of the real sense of time into which she may project herself to actualize her own authentic possibilities. However, what death reveals is not her own individual, authentic possibilities, but the fact that there is something other than her self, For Dickinson, the meaning of death resides in the fact that the subject, locked within itself and its present, is encountered by what the subject is not, cannot be, and cannot even understand. In death. the subject meets the Other, absolute alterity. I interpret Dickinson`s three poems, "A Clock stopped-," "I felt a Funeral, in my Brain," and "I heard a Fly buzz-when I died-," focusing on the dynamics and tension between her self and the absolute Other, death. Her strong sense of the otherness of the Other, combined with her poetic skill and ingenuity, leads to her characteristic style and poetic form. Her ironic use of metrical form and many grammatical and syntactical experiments are the natural products of her radical understanding of alterity. Her use of diverse poetic devices is not simply a poetic technique but something of metaphysics, an epistemological way of questioning and answering.

Emily Dickinson, death, alterity, self study, poetic form, 에밀리 디킨슨, 죽음, 타자성, 자아 연구, 시 형식,영미문학, 문화연구, 비교문학, 비평이론, English and American Literature, cultural studies, comparative literature, critical theory

윤민우 Yun Min U

DOI: Vol.50(No.1) 211-237, 2004

It is significant that Chaucer lets the Man of Law tell a story of the oriental pagan world. Since the Man of Law, by his occupation, works in the realm of order, reason, and law, it is understandable that he abhors the "unnatural" sexuality of incest, that his legal text is absolutely correct, and that he has a reasonable but rigid sense of possession, Accordingly, the image of the oriental world as he sees it is quite opposite to orderliness and rationality. The Islamic Syria and the pagan Northumberland are described as utterly irrational and superfluous, i.e., as the counter-image of the sexual, textual, and economic sanity of his own world. His Tale, however, uncovers the other side of the lawyer`s professed inclination toward rationality, The text can never be said to be tidy and thrifty, in view of the luxuriant stanza form and the frequent affective responses, both of which are the salient poetic outfit of the Tale. And the incestuous desire to protect Constance and her Roman Catholic lineage is obviously latent in his unconscious. This economy of "excess" contradicts his initial portrait represented by order, reason and law. Therefore, the "positional" division between the East and the West is, once made, soon deconstructed in the Tale. The lawyer, along with the merchant, is a man of "negotium"(busy-ness). They are supposed to coordinate the "symbolic" world by means of the law of the father and commercial negotiation. However, the lawyer`s uneasy feeling about the oriental pagan world leads him back to the "imaginary" stage of "otium." In the late medieval period, when the commercial discourse of exchange opened a new realm of economy, and at the same time, the Muslims reconquered all of the Crusaders` holdings, the lawyer`s "subject" can never be stable. It cannot be said that Chaucer endorses the Man of Law`s inclination for the binary division between the East and the West ; nor is it true that he fully manipulates and makes fun of the lawyer`s psychological ambivalence toward it. As much a medieval "subject" as the Man of Law. Chaucer does not have a determined opinion available to him. Rather, Chaucer`s subjectivity is made up in the course of his writing the Tale. At least in the Tale. Chaucer impersonates the Man of Law and shares with him, to considerable extent, the dominant medieval conception of the non-Christian world as inferior and dangerous.

oriental discourse, Manichean, incest, economy of excess, saint`s life, 중세동양담론, 근칭상간, 매니키언 이분법, 과잉의 경제, 탈식민주의,영미문학, 문화연구, 비교문학, 비평이론, English and American Literature, cultural studies, comparative literature, critical theory

남기헌 Nam Gi Heon

DOI: Vol.50(No.1) 239-264, 2004

James Joyce must have been aware of the emergence of nationalism at the turn-of-the-century Europe, when he was in exile on the continent, In Trieste, Joyce witnessed irredentism, the Italian nationalist movement that claimed the lost territory of old Italy from its Austrian occupation. In Ireland, radical nationalism also emerged with ideas of racial purity as a means of rejuvenating Irish national identity, promulgated by Arthur Griffith. Some critics like Vincent J. Cheng have pointed to the relationship between race and empire, but most of them ignore the subtle perversion of racism and imperial ideology in Irish popular culture. By delineating Leopold Bloom af racial Other. Joyce explores racial prejudices and nationalist radicalism in Ireland. Joyce`s interest in race must have been related to the British colonial occupation of Ireland, but it seems that he tries to understand the problem of Irish `race` in the larger context of European culture. In this sense, Bloom does not only embody European prejudices against the Jew, but also enunciates problematic ideas of the purity of the Irish `race.` Joyce`s double-edged critique of racial representations reveals that the British denunciation of the Irish race as savage is only constructed as a way of colonizing Ireland and, furthermore, that Irish radical nationalists do the same thing against the racial Other, for example, the Jew. Joyce`s critique of racial prejudice permeated in the imperialist ideology leads us to the theater, a cultural arena in which racial presentations of the black tend to reproduce the prejudices. In addition, British and Irish journalism do the same thing. But Joyce does not forget to mention the racial prejudice that permeated the nationalist ideology in Ireland, in which radical nationalists tried to purity Ireland or racial others. In conclusion, Joyce criticizes Imperialist representations of race as arbitrarily and ideologically constructed.

James Joyce, race, postcolonialism popular culture, nationalism, 제임스 조이스, 민중, 탈식민주의, 대중문화, 민족주의,영미문학, 문화연구, 비교문학, 비평이론, English and American Literature, cultural studies, comparative literature, critical theory

박상기 Park Sang Gi

DOI: Vol.50(No.1) 265-290, 2004

Joseph Conrad`s Heart of Darkness has been regarded as a canonical anti-imperialist British novella. However, this status of honor is challenged by Chinua Achebe`s argument that it is racist. This is an interesting claim that Conrad is at once anti-imperialist and racist. Achebe criticzes Conrad as a racist who has neither the understanding of nor the will to understand Africans. According to Achebe, when Conrad portrays Africans as an indistinguishable group of bodies without any human language, he deprives them of humanity as well as individuality. They have no existence independent of Africa; furthermore, they exis only as an "image" of the other, a "background" for and the "antithesis" of European imperialists. In fact, Achebe`s criticism shows its nationalist assumption that privileges Africa over Europe. As a kind of antidote to imperialism, it simply reverses the problematic hierarchy of European superiority. Achebe`s seemingly interesting criticism has several serious flaws. First of all, it is not fully supported by an actual analysis of the novella itself. Moreover, it is anachronistic in that it criticizes the late 19th-century novella from the perspective of the late 20th century. If the novella is properly located in its own historical situation, it is not difficult to find the novella`s characteristic of its age, fin-de-sie`cle nihilism. Read from this historical perspective, Heart of Darkness clearly shows that Conrad was completely disillusioned with European civilization at the turn of the century. Because of its nihilistic tendency, the novella uses the logic of a neither/nor paradox, by not choosing either European racism or African nationalism. Achebe`s criticism also presupposes the possibility of separating imperialism from racism. However, it is next to impossible to separate them because racism insists on the European racial superiority mainly in terms of cultural superiority, the progress in civilization, and culture vs barbarism. The novella clearly criticizes European imperialism by adopting the anti-racist language. The logic of paradox also enables the novella effectively to undermine the acclaimed hierarchy of racism, the civilizing process, and its enlightenment and utilitarian implications. Ultimately, this nihilistic tendency causes Conrad to take an `ambivalent` attitude toward imperialism and racism when there is no alternative in sight.

imperialism, nationalism, racism, nihilism, Conrad, Achebe, Brantlinger, 제국주의, 민족주의, 인종주의, 허무주의, 콘래드, 아체베, 브랜틀링거,영미문학, 문화연구, 비교문학, 비평이론, English and American Literature, cultural studies, comparative literature, critical theory

왕철 Wang Cheol

DOI: Vol.50(No.1) 291-317, 2004

J.M. Coetzee`s Waiting for the Barbarians demonstrates his tendency "to see the South African situation as only one manifestation of a wider historical situation to do with colonialism, late colonialism, neo-colonialism." The novel`s non-specific milieu suggests, even testifies that Coetzee seeks to go beyond a South African context and enter a space in which he could examine, interrogate, problematize and undermine Empire in general. It is no wonder that much of the critical discussion on Waiting for the Barbarians has focussed on its allegorical status. It is for this purpose that Coetzee makes his novel heavily embedded in intertextual network with literary works by various writers such as C.P. Cavafy, Beckett, Dostoevsky, Tolstoy, Kafka, and Dino Buzrati. This paper is then not only to explore what Coetzee tries to achieve by utilizing surface and underneath intertextual networks but to find out in what ways Coetzee as a "colonizer who fefuses" deploys complex discourses on colonialism and imperialism, deconstructing its ideology from within and breaking it open. This paper gives a special focus to the novel`s confessional mode and Coetzee`s essay on confession : "Confession and Double Thoughts : Tolstoy, Rousseau, Dostoevsky." bearing in mind Coetzee`s own suggestion that the latter "is best read, I think, side by side with Waiting fo the Barbarians." Ultimately this paper is to highlight what Coetzee says : "Why does one choose the side of justice when it is not in one`s material interest to do so? The Magistrate gives the rather Platonic answer : because we are born with the idea of justice. The essay, if only implicitly, asks the question : Why should I be interested in truth about myself when th truth may not be in my interest? To which, I suppose, I continue to give a Platonic answer : because we are born with the idea of truth." This remarks should be enough to testify that the ethical aspect of Coetzee`s fictional milieu and vision matters, more than anything else. It is the idea of truth and justice that lies at the heart of Waiting for the Barbarians.

Coetzee, intertextuality, colonialism, South Africa, postcolonialism, imperialism, Waiting for the Barbarians, 쿳시, 상호텍스트성, 남아프리카, 탈식민주의, 제국주의,영미문학, 문화연구, 비교문학, 비평이론, English and American Literature, cultural studies, comparative literature, critical theory