손혜숙 Hye Sook Son

DOI: Vol.57(No.4) 529-552, 2011

My essay aims at reading Ginsberg`s "Howl"and "Kaddish" with the concept of ``shaman-prophet-poet`` to illustrate the dynamic relationship between his poetics and radical politics. Throughout his widely-ranging career, Ginsberg represents himself as a poet-prophet and commands a typical rhetoric of revelation as a way of decentering Cold War orthodoxies. While well aware of the oppressive and pervasive power of the dominant post-war ideologies, he adopts ``madness`` to oppose conventional political, social, and religious institutions; by way of entering into the madness of this world and actively engaging himself as a victim, he can finally heal both himself and the world. This dual function of poet characterizes his rhetoric of revelation, but it doesn`t appeal to the mainstream of American critical ideology where the post-structural approach to language and subject gives a skeptical look at any account of active human agency and humanistic belief in the possibility of language. In "Howl" and "Kaddish," Ginsburg persuades the reader of the truth of his own vision through the convincing and realistic portraits of his contemporaries as well as his own mother and family. Different from his visionary predecessors such as Emerson and Whitman, Ginsberg knew the difficulty of a negotiation between history and divine vision, and attempted to imbricate his family, friends, and even the larger social and political units within his visionary experience in order to avoid naive idealism, escapism, or solipsism. Furthermore, he deconstructs the Logos of Western prophecy and replaces it with the groundless identity and the nontheistic epistemology of Buddhism, which, in turn, leads to emptying his powerful language of absolutist meaning and prevents his prophecy from becoming re-reified as divine essentialism. Ginsberg`s idea of poet and poem revitalizes the skeptical view on language and literary representation of our contemporary critical community which is unwilling to engage the experimental scope of his radical prophecy.

긴즈버그, 「울부짖음」, 「캐디쉬」, 계시의 수사, 광기, 주술사-예언자-시인, Allen Ginsberg, "Howl," "Kaddish," rhetoric of revelation, madness, shaman-prophet-poet,영미문학, 문화연구, 비교문학, 비평이론, English and American Literature, cultural studies, comparative literature, critical theory

이성범 Sung Bum Lee

DOI: Vol.57(No.4) 553-580, 2011

This article addresses how the British Empire administered the discipline of space in nineteenth century Ireland. Space control is a part of modern disciplinary practices. I approach this issue in light of the two modern mapping of space: the geometric mapping of space and the Romantic mapping of space. The former, as seen in map-making, is characterized by imposing a standardized, stratified grid on space by eliminating local characteristics of nature. On the other hand, the latter, as shown in picturesque landscaping, aims to balance a close-up observation of nature and a far-sighted view of it, with the result of creating an ironic tension of local diversity and perspectival totality. These modern disciplinary projects of space repeat themselves in the British management of the colonized Irish territory. As the British conquer other lands, they put to good use both geometric and Romantic disciplinary methods of space. Supervising the Ordnance Survey of Ireland from 1824 to 1846, Thomas Frederick Colby, British Director of Ordnance Survey, made a mathematically strict and scientific mapping of Ireland as a scale of six inches to one mile. Parallelled to this geometric colonization of space, the Romantic colonization of space is efficiently used for the Empire`s management of Ireland as well. British tourists and pro-unionist Anglo-Irish landed gentries transform it into the nature of picturesque beauty; Ireland`s wild boglands turn aesthetically into desolate but beautiful scenery. Picturesque landscape in England is reborn as an aesthetics of desolation in Ireland.

지도 그리기, 픽쳐레스크 풍경, 영국계 아일랜드 지주, 기하학적 공간 규율, 낭만주의적 공간규율, 공간의 식민화, 아일랜드, mapping, picturesque Landscape, Anglo-Irish Landed gentry, geometric mapping of space, Romantic mapping of space, colonization of space, Ireland,영미문학, 문화연구, 비교문학, 비평이론, English and American Literature, cultural studies, comparative literature, critical theory

권택영 Teck Young Kwon

DOI: Vol.57(No.4) 581-598, 2011

The recent revival of phenomenology and aesthetics is deeply connected to the development of neuroscience which studies the nervous system and the brain with particular regard to cognition and memory. How are those fields gathered into building up the basis for the communication not only between human beings but also between humanity and its environment? This paper examines the human mind considered unseparable from the body, with reference to Merleau-Ponty`s two major works: Phenomenology of Perception (1962) and The Visible and the Invisible (1968). While reading these texts, I investigate the way he overturns the Cartesian cogito and establishes the body as the ground of perception. According to him, human perception is chiefly obtained through the body rather than consciousness. Influenced by William James, who produced the unique concept of cognition and memory through his experiments with the brain, Merleau-Ponty extends Heideggerian Desein to the field of the embodied mind. James also anticipates Bergson, who regards memory as the product of interaction between consciousness and matter (or the body). The intervention of the body which stores the past experiences makes it impossible for us to capture the present moment in itself. This failure, however, is viewed as positive by Merleau-Ponty because the human body is not only a medium of social interaction, but also that of ecological communion.

메를로퐁티, 현상학, 하이데거, 교감이론, 환경, 키아즘, Merleau-Ponty, Phenomenology, Heidegger, Intertwining, Environment, Chiasm,영미문학, 문화연구, 비교문학, 비평이론, English and American Literature, cultural studies, comparative literature, critical theory

김준년 Jun Yon Kim

DOI: Vol.57(No.4) 599-624, 2011

Cormac McCarthy`s Blood Meridian (and the Border Trilogy) can be used as a touchstone with which the limit of American literature is tested. For his text is particularly significant in the sense that its language mixes English with Spanish; its characterization confronts Americans with non-Americans; and its narrative structure traverses the geographical and symbolic borderlands between America and Mexico. In this sense, his novels deserve to be reexamined under the rubric of Chicano/a Studies, Hemispheric American Studies, transnationalism, etc. Rereading McCarthy`s Blood Meridian, this paper attempts to rethink its historical complexity in relation to Manifest Destiny, focusing on the border-crossing motifs of filibustering and scalphunting. For this purpose, I pay due and careful attention to the ways in which the ideology of Manifest Destiny was created, circulated, and manipulated among the 19th century American expansionists and border-crossing agents. Of course, my discussion does not omit the significance of the U.S.-Mexico borderlands in the contemporary Chicano/a Studies and Hemispheric American Studies. In these historical and interdisciplinary contexts, I investigate how the 19th century filibusters like Captain Smith and his followers fall prey to the imperial practice of Manifest Destiny. I would also interrogate whether and how the Glanton Gang`s scalp trade is involved in the capitalist desire of Manifest Destiny.

"명백한 운명," 존 오설리번, 반구 아메리카, 경계, 접경지, 코맥 매카시,『 핏빛 자오선』, Manifest Destiny, John O`Sullivan, Hemispheric America, border, borderlands, Cormac McCarthy, Blood Meridian,영미문학, 문화연구, 비교문학, 비평이론, English and American Literature, cultural studies, comparative literature, critical theory

이만식 Man Sik Lee

DOI: Vol.57(No.4) 625-649, 2011

Even though "An Outpost of Progress" and Heart of Darkness were based upon Joseph Conrad the sailor`s same experience in Congo Free State, their narrative strategies are quite different. The realistic representation of "An Outpost of Progress," with which Conrad was not satisfied at all, was converted into the modernistic narrative strategy of Heart of Darkness so that the sympathetic power of the story should be improved. The conservative value system of realism is expressed by the omniscient author in "An Outpost of Progress," whereas the frame narrator of Heart of Darkness is proved to be an unreliable one whose norms and behavior are not in accordance with the implied author. The glorious history of the British Empire, which was proudly presented by the frame narrator at the beginning of Heart of Darkness, was strongly opposed by Marlow, another narrator, who said that the British Empire had been "one of the dark places of the earth" when ruled by the Roman Empire. The feeling of the frame narrator was uneasily changed into the gloomy mood when he described the Thames as the flow which "seemed to lead into the heart of an immense darkness" at the end of Heart of Darkness. Similar to the straightforward narrative strategy of representation in "An Outpost of Progress," the realistic approach of Part I in Heart of Darkness is considered by Conrad as insufficient to reveal the darkest truth of imperialism, which was declared by Kurtz as "The Horror! The Horror!" Thus Conrad uses the Chinese-box structure, in which Kurtz` episode is enveloped by Marlow`s tale which is enclosed by the frame narrator`s story, in order to penetrate into the mind of ordinary readers in the novelist`s age of New Colonialism, while attacking the ideology itself of imperialism instead of critisizing its inefficiency and individualism.

조셉 콘래드, 「진보의 전초기지」, 『어둠의 핵심』, 커츠, 말로우, 카에르츠, 칼리에, 마콜라, 서술 전략, 에피소드, 담화, 테두리 화자, Joseph Conrad, "An Outpost of Progress," Heart of Darkness, Kurtz, Kayerts, Carlier, Narrative Strategy, episode, tale, the framed narrator,영미문학, 문화연구, 비교문학, 비평이론, English and American Literature, cultural studies, comparative literature, critical theory

한영림 Young Lim Han

DOI: Vol.57(No.4) 651-674, 2011

This paper approaches Sir Thomas More, Coriolanus, Pericles in terms of the relationship of food to national identity. These three plays examine ways in which food is essential to what constitutes English national identity, and food shortages give rise to riots thereby throwing everyday life into disorder. In Sir Thomas More food shortages are caused by foreign foodstuff and foreign habits of consumption. Rioting Londoners fear that the European foreigners` strange dietary habits would do harm on English food, the English body and English economy. In Coriolanus starvation is the primary trigger for the enmity between the senators and citizens. Menenius employs the fable of the belly to quell the hungry citizens` anger and to emphasize the senators` role as a store of nutrition to feed the body, that is, the citizens. Coriolanus` contempt for the body`s need comes to a devastating end. In Pericles the famine is brought about by the gluttonous consumption of specific foods. The problem of greedy consumption becomes that of living in the cannibalistic situation where mothers are willing to eat their children and married couples one another. Pericles feeds the hungry people with bread, and is also saved from starvation by the fishermen after shipwreck. In this way the three plays provide the examples of Shakespeare`s notion on healthy food and feeding.]

음식, 민족정체성, 『토마스 모어 경』, 『코리올레이너스』, 『페리클리즈』, Food, National Identity, Sir Thomas More, Coriolanus, Pericles,영미문학, 문화연구, 비교문학, 비평이론, English and American Literature, cultural studies, comparative literature, critical theory

최문수 Moon Soo Choi

DOI: Vol.57(No.4) 675-693, 2011

In its restricted sense, ``sound poetry`` refers to the poetic performance that rejects words and verbal meaning and instead foregrounds the aural materiality of poetry. Behind this seeking for materiality lies a quest for a ``language of presence,`` which operates through a denial of signification toward an ideal of the Adamic tongue, a purely emotional and universal language. In the same light, it is argued that sound poetry is a unique and unrepeatable event devoid of meaning due to its directness to the body allowing no intervention of intellectual and semiotic process. But language may involve perceptual meaning as well as verbal or conceptual meaning ascribed to words. This implies that even though devoid of conceptual meaning by means of using grammatically non-articulated sounds, sound poetry cannot but have meaning whose articulation is differently, i.e., iconically made about the aural features of the sounds. Perceptual meaning is unavoidable because everything we are conscious of is a reduced form, a repeatable pattern that works as a sign. ``Language of presence`` is then actually impossible, and therefore sound poetry should be seen rather as a fest of diverse perceptual meanings.

소리시, 존재의 언어, 분절, 코드, 지각적 의미, sound poetry, Language of presence, articulation, code, perceptual meaning,영미문학, 문화연구, 비교문학, 비평이론, English and American Literature, cultural studies, comparative literature, critical theory

김종건

DOI: Vol.57(No.4) 695-699, 2011

영미문학, 문화연구, 비교문학, 비평이론, English and American Literature, cultural studies, comparative literature, critical theory