윤은자 Eun Ja Yun

DOI: Vol.56(No.4) 575-596, 2010

The modes of narratives and communication have expanded due to social and cultural changes and technological development. Thus texts have become multimodal and media hybridities and media crossover have been increasing as well. Multimodality requires new literacy to understand and interpret those multimodal texts other than existing traditional literacy approaches. The New London Group (2000) argues that multiliteracies are needed to serve today`s changing multimodal texts. Kress (2003) also argues, visual texts have been prevailing, being mingled with other modes of texts such as linguistic, audio, gestural, and spatial modes. Literary texts are not exception in this trend of multimodality. The recent renaissance of comics, in particular, the new light on graphic novels can be interpreted in this historical vein. In comparison to comics, no consensus has been made in defining graphic novels, however, many studies have been recently conducted in order to look into the potential of graphic novels in building multiliteracies. In this paper, the graphic novel as a literary genre are explored from a histocial perspective and the definition of graphic novels was attempted to be made. In the light of multiliteracies, this paper presented cases that show how graphic novels can be utilized to build multiliteracies. Lastly, the use of graphic novels for English as a foreign language was introduced as well. The author hopes that at the age of multimodality, the potential graphic novels have in language and literacy education can be taken into account by language teachers and students in expanding their territory of literacy.

다중모드, 다중문식성, 언어와 문식성 교육, 미디아 혼용, 그래픽노블, 만화, multimodality, multiliteracies, Literacy and Language education, media hybridity, graphic novels, comics,영미문학, 문화연구, 비교문학, 비평이론, English and American Literature, cultural studies, comparative literature, critical theory

김영덕 Yung Duk Kim

DOI: Vol.56(No.4) 597-618, 2010

This paper discusses American disability theater`s representations of disability identity and disability identity politics. Dramatists John Belluso and Lynn Manning, among others, present characters with disabilities who experience oppressions at multiple, interlocking levels of domination on the basis of disability, race, and ethnicity. In Manning`s Shoot, the black, blind hero iterates episodes in which he experienced discrimination and insults in encounters with whites who used derogatory racist words or belittled him and with some school children who taunted him for just being blind. This play, as in Manning`s solo performance, Weights, presents narratives of a blind person traversing multiple locations of oppression in "a long litany of losses" in a white-dominated and ableist society. Belluso`s Gretty Good Time similarly weaves together stories of disabled women, Gretty and Hideko, who bond together to resist the dominant ideology that reduces them into titillating commodities of mass consumption. Hideko`s story serves the two-fold function of both affirming the specificity of her individual experience as an ethnic other and espousing the communal experience of stigmatization she shares with other disabled women like Gretty. In these plays, the intersection of the identity categories of disability, race, and ethnicity highlights the diversity of the body and the fluidity of boundaries, foregounding the specificity of disabled bodies, while at the same time overthrowing the hierarchical binarism between disabled and "normal" bodies.

장애연극, 신체장애, 인종, 민족성, 정체성 정치학, 교차성, 매닝, 벨루소, disability theater, disability, race, ethnicity, identity politics, intersectionality, Manning, Belluso,영미문학, 문화연구, 비교문학, 비평이론, English and American Literature, cultural studies, comparative literature, critical theory

남수영 Soo Young Nam

DOI: Vol.56(No.4) 617-635, 2010

This paper argues that what Edgar Allan Poe pursues in "The Man of the Crowd" (1840) is not a story that can be told but an active reading that must be mediated. It is not only because the subject of the pursuit, the secret of the flaneur, remains veiled until the end, but also because the story proves itself to be a reading of various kinds of other texts: that is, the contemporary urban texts as well as the city itself. Although the ``man of the crowd`` and his double (i.e. the narrator) embrace the figure of a modern flaneur, it is highly questionable whether the image of flaneur in the story fully qualifies itself as that of an ideal stroller, who can represent the free spirit of a detached collector. Rather, the narrator`s flaneur reflects a panoptic perspective, systematically hierarchizing the constituents of the city. Still, it should be noted that "The Man of the Crowd" raises questions about the idea of creation and appropriation, observation and originality, and reading and storytelling by ascertaining the impossibility of reading and through assimilating to the contemporary texts not without subtle acknowledgement. In short, this novella tries a new way of storytelling, of which meaning is not to be found in creation but to be mediated in modern experiences.

「군중의 남자」, 만보자, 추리 소설, 도시적 텍스트, 수집가, 읽기, 이야기하기, "The Man of the Crowd," Flaneur, Detective Novel, Urban Text, Collector, Reading, Storytelling,영미문학, 문화연구, 비교문학, 비평이론, English and American Literature, cultural studies, comparative literature, critical theory

윤민우 Min Woo Yoon

DOI: Vol.56(No.4) 639-666, 2010

Meditation on Christ`s body is peculiar to late medieval female mysticism. The somatic meditation on Christ basically derives from the Incarnation, but the female mystics focused more on the Passion and the Eucharist, i.e., Christ`s bleeding and feeding. Then, female body structure and the gender role of nurturing were combined to make facile her imitatio Christi, because the female body was aptly identified with Christ`s body. The blood flowing in the side of Christ was often in medieval graphics and texts identified with a mother`s milk for a baby to suck. Wound and food, suffering and nourishing, were inseparable in Christ`s and the female mystics` body. Thus, in late medieval female mystical practice, it is important to note, first, female mystics` bodily pain was not to be cured but endured; second, that not only did a female mystic eat Christ`s body, but her own body was to be "eaten" by poor neighbors, just as Christ gave his own body to be eaten by believers. As Christ`s body is punctured, so does the female body have open holes, and as Christ is food, so is the female body. This female meditation on Christ`s body developed the notion of "divine motherhood" to be accepted and enjoyed quite literally by the female mystics in late medieval times. Yet, in a sense, the female mystics` meditating on Christ`s feminine function of nourishing can be considered as their accepting and interiorizing the socially constructed female gender role and thus lacking in subversive power. Nevertheless, this meditative practice at least functioned to redeem the female body which had typically been labelled inferior and even dirty. Through Christ`s feminized body, the female mystics rehabilitated their bodily dimension, presenting it to be shared by male believers. Capitalizing on the gender stereotype of womanhood itself, they converted female weakness to power.

예수의 상처, 여성의 몸, 굶기(거식증), 먹기와 먹히기, 어머니로서의 예수, 중세여성 명상가, 젠더와 성, Christ`s wounds, female body, hunger (anorexia), to eat and to be eaten, Jesus as Mother, medieval female mystics, gender and sex,영미문학, 문화연구, 비교문학, 비평이론, English and American Literature, cultural studies, comparative literature, critical theory

민병천 Byoung Chun Min

DOI: Vol.56(No.4) 667-690, 2010

This essay attempts to read Percy Bysshe Shelley s The Mask of Anarchy by attending to a political agenda that Shelley seeks to propose and embody in the poem. This poem was written as a response to an exceptional political event, the Peterloo Massacre, and thus it is evident that Shelley intended to engage in contemporary politics by writing this poem. As many critics have pointed out, however, the way in which this poem addresses social, plitical issues is ambivalent and even confusing, since it contains many elements that contradict each other, and sometimes its political visions are based on incoherent conceptions. For this reason, this poem has been considered to be a failure as an occasional poem which should provide the reader with a clear direction for political actions. Faced with this critical problem, this essay proposes that the ambivalence this poem reveals-e.g., the confrontation between moderate artistic fantasy and radical tenets -is not a retreat from political activism, as some critics suggested, but a result of its creation and embodiment of a public sphere which invites various social classes and their positions. The mode in which Shelley conceives this unified public sphere in the course of writing The Mask of Anarchy can be interpreted in terms of the following three features. First, this poem underscores the significance of thoughts in constituting a communal space between people, thus asking the reader to participate in this process of thinking on given issues. Second, this poem suggests that people should enlighten each other by engaging in communicative reciprocations. Lastly, the public sphere formulated by the previous two features should incorporate various socio-political agents beyond class boundaries (even oppressors themselves) into its own working field. After explaining how these three features are manifested in the poem, this essay argues that the unified public sphere thus formed in the poem is the very agenda that Shelley aims to propose for the contemporaneous politics and culture. As a conclusion, this essay highlights how Shelley s project of creating a unified public sphere finally failed in contemporary history through observing two contrasting receptions of Shelley s works.

피털루 학살, 상황시, 모호함, 통합적 공공영역, 계급, 셸리 작품의 수용, Peterloo Massacre, occasional poem, ambivalence, unified public sphere, class, receptions of Shelley s works,영미문학, 문화연구, 비교문학, 비평이론, English and American Literature, cultural studies, comparative literature, critical theory

이동춘 Dong Choon Lee

DOI: Vol.56(No.4) 691-717, 2010

Chaucer`s Troilus and Criseyde is a tale of love framed by an overarching pattern of death, set in the war-torn and doomed Troy, from which the lovers cannot separate their fate. Compared with Boccaccio`s poem, the attention paid to death in Chaucer`s version underlies his complex treatment of love. Above all, the language of death in Chaucer`s poem provides the thread from which the entangled web of love is woven. Death together with desire pervades the language and rhetoric of the poem, prominent not only in the courtly love tropes, but also in the characters` asides and speeches. The prominence of these two concepts, desire and death, seem to be central to the various issues that the poem contains explicitly and implicitly. That is, two concepts are the basis for the breadth and depth of Chaucer`s examination of love in light of the social and political realities of late fourteenth century England. The language of death in Chaucer`s poem reflects the powerful influence on his imagination. With the devastation wrought by the plague and the changing fortunes of England in the war with France, Chaucer`s world was once saturated in death, and one that could amply parallel the turn from prosperity to downfall. In particular, Chaucer`s poem is suffused with the language of contagion and death in connection with desire. Troilus`s lovesickness mimics the progress of a viral infection. Once breached, his body performs its newly compromised identity through fever, loss of appetite, and physical disintegration. On the other hand, Chaucer depicts Boccaccio`s conventional portrait of Criseyde into a elaborate paramour of a pathogen. She is characterized as the contaminant that infects male hero. In addition, Criseyde is cast as sole earthly cure of illness that Troilus suffers from. In spite of Criseyde`s role as nurturer and healer, Troilus longs for his own death and feels death clutching his heart. Finally, Troilus`s love toward Criseyde is doomed to death.

『트로일러스와 크리세이다』. 사랑, 욕망, 죽음, 흑사병, Troilus and Criseyde, Love, Desire, Death, Black Death,영미문학, 문화연구, 비교문학, 비평이론, English and American Literature, cultural studies, comparative literature, critical theory

전수용 Soo Young Chon

DOI: Vol.56(No.4) 719-751, 2010

While Lukacs advocated the progressive effect that Darwin`s evolutionary theory had on Goethe and Balzac, he was convinced that the "influences of Nietzsche, Freud, or Spengler on the writers" of his own time were "devastating." He maintains that to the "``vacuous`` reality" of bourgeois life, "the bourgeois writer counterposes ``the life of the soul,`` which is ``alone decisive.`` This life of the soul then becomes the centre of gravity, and sometimes the sole content of his portrayal." Naming this creative tendency psychologism, he warns against the danger of "depicting only the ``inner life,`` and carrying on a more or less conscious education in the direction of political and social indifferentism, of ignoring and pushing aside the ``inessential,`` ``external`` struggles of the world, in favour of the ``life of the soul,`` which is all that matters." However, Frantz Fanon`s analysis of the psychology of the colonized in Black Skin, White Masks displays that after all, "the life of the soul" cannot be separated from the "external` struggles of the world." Pat Barker`s Regeneration Trilogy, which criticizes the conduct of World War I by British leaders and the British society in general with its patriarchal, gender, and class repression by depicting the psychopathology of the shell shock victims of the same war amply shows the possibility of portraying the "external struggles of the world" through the in-depth probing into "the life of the soul" and finding political and social relevance in the process.

팻 바커, 『갱생』삼부작, 정신분석학, 전쟁노이로제, 지그프리드 새순, Pat Barker, Regeneration trilogy, Pychoanalysis, War Neurosis, Sigfried Sassoon,영미문학, 문화연구, 비교문학, 비평이론, English and American Literature, cultural studies, comparative literature, critical theory

윤규철 Kyu Chul Yoon , 오지연 Ji Yeon Oh , 안상철 Sang Cheol Ahn

DOI: Vol.56(No.4) 753-772, 2010

The purpose of this work is to examine the viability of employing the prosody cloning technique in teaching English prosody. Ten native speakers of Korean high school students with similar level of English proficiency participated in the poem self-study experiment. Five of them were grouped into the experimental group and the remaining five into the control group. One popular English poem from a high school textbook was selected and its recording by a professional native speaker of English was used in the experiment. The members of the two groups made a recording of the poem both before and after the experiment. For the study material, the experimental group used their own recorded utterances with their prosody cloned from the professional English speaker, while the control group used the utterances of the professional speaker alone. The acoustic analysis of the recordings by the prosodic foot both before and after the experiment showed that the experimental group performed slightly better than the control group in the realization of the intensity contour of the poem. There were no significant differences in the realization of the intonation contour and segmental durations between the two groups. The recording after the experiment was also subjectively evaluated by a native speaker of English and the scores for the experimental group were slightly higher than the control group. These findings suggest that the use of English poems with the help of the prosody cloning technique is a potentially viable approach to teaching English intonation to high school students. A long-term study with more students is necessary.

언어 운율, 학습자 발화, 운율 복제, 영시, 고등학생, 교육, English prosody, Learner utterances, prosody cloning, English poetry, Korean high school students, education,영미문학, 문화연구, 비교문학, 비평이론, English and American Literature, cultural studies, comparative literature, critical theory