주혁규 Hyeuk Kyu Joo

DOI: Vol.57(No.5) 701-725, 2011

This paper attempts to read "The Nightingale" as an experimental proponent of Lyrical Ballads of 1798, one that inaugurated British Romanticism. It is never accidental for this poem to come to replace "Lewti" at the last moment of publication and to be tied to the poetic principles manifested in the "Advertisement" of the 1798 volume. The speaker of this poem, for example, is an ordinary man, who presents himself as a friend and a loving father. Opting for conversational styles rather than blindly copying literary conceits, he even incorporates an evening episode he happens to recall into a legitimate subject matter. The notion of "conversation," which appears in the subtitle, offers a key to figuring out the ideal of poetic language, the figure of the poet, and compositional procedures Coleridge and Wordsworth proposed in their collaborative project. "The Nightingale" can be a dubious, if not totally failed, poetical journey to subverting an incidence of misnaming acts. He finally reaches the limits of poetic figuration in a process of textualizing nature. The leitmotif of "In nature there is nothing melancholy" testifies to the fact that the bird nightingale, which the narrator is hard at work to rename as a joyous bird, is nothing but a poetic metaphor. "The Nightingale" is more likely to be a revisional, regenerative performance based on the strategy of conversation than an embodiment of a daring novelty.

『서정민요집』, 콜리지, 워즈워스, 나이팅게일, 대화, Lyrical Ballads, Coleridge, Wordsworth, The Nightingale, conversation,영미문학, 문화연구, 비교문학, 비평이론, English and American Literature, cultural studies, comparative literature, critical theory

이수미 Su Mee Lee

DOI: Vol.57(No.5) 727-755, 2011

In this paper, I`ll try to read Don Lee`s Yellow intertextually with a more canonical text, Sherwood Anderson`s Winesburg, Ohio, in order to see what kind of traditions and techniques Yellow references and/or rewrites as a way of tracking this production. Yellow`s formal properties as a short story cycle are established through its use of particular conventions. For instance, Yellow follows the short story cycle model that includes the assemblage of recurring characters into one locale. Yellow`s characters are all connected to and at some point located in the fictional small town of Rosarita Bay, California. The text form aligns it with established literary conventions and traditions and suggests the author`s reliance upon or trust in those modes. Yellow`s setting in a small town alludes to and has often been compared to Anderson`s Winesburg, Ohio, which is perhaps one of the most well-known and extensively discussed short story cycles in American literature. Also following convention is Lee`s construction of Rosarita Bay and the text`s third person narrator as a member of that town. Both Rosarita Bay and the narrator become important figures through the related-tale nature of the text. The method of story-telling is similar to how the town Winesburg and its "seemingly sympathetic and non-overtly judgmental" narrator are operational in Anderson`s text. In sum, Yellow is opportune for intertextual reading largely because it is a collection of stories that create a linked series.

아시아계 미국 단편문학, 단편소설집의 사이클, 단 리, 『옐로우』, 셔우 드 앤더슨, 『와인즈버그, 오하이오』, 가상의 소읍, 로사리따 베이, 이야기의 모 음집, Asian American Short Story, Short Story Cycle, Don Lee, Yellow, Sherwood Anderson, Winesburg, Ohio, fictional small town, Rosarita Bay, collection of stories,영미문학, 문화연구, 비교문학, 비평이론, English and American Literature, cultural studies, comparative literature, critical theory

이진아 Jin Ah Lee

DOI: Vol.57(No.5) 757-786, 2011

Seneca, the most influential classical Stoic and Justus Lipsius, the founder of Renaissance Stoicism suggest constancy, an unmovable strength of the steadfast mind based on reason and sound judgment, as a practical way or attitude in life full of both public and private evils. As a member of the Sidney family, Wroth is very much likely to have been influenced in molding her concept of constancy by Senecan and Lipsian Stoicism, which was introduced into England through Sir Philip Sidney`s friendship with Lipsius. This paper explores Wroth`s concept of constancy in Urania as a Stoic ideal in the context of the major Stoic writings of Seneca and Lipsius. While the titular character of the romance Urania shows some inherent attributes of Stoic constancy from the beginning of the romance, Pamphilia as the pattern of constancy gradually perfects the virtue through the ordeals of her love of Amphilanthus and her queenship. Her frequent retirements into private and secluded places are the essential occasions for her disciplining in Stoic constancy through self- examinations of her psychological and emotional disorders and poetry writing. Amphilanthus, a constantly inconstant lover, fully understands the importance of constancy in love as well in life only after his marriage to another woman and Pamphilia`s marriage to another man. At the end of the romance they come to accept the vicissitudes of life in Stoic constancy. In Urania, Wroth transforms the strongly masculine Stoic constancy into a female heroic ideal. Thereby she presents those female characters as important political, ethical and cultural subjects and their constancy as a thread through the labyrinths of love and life.

메리 로쓰, 르네상스 스토아철학, 세네카, 유스투스 립시우스, 항심, 『유래이니어』, 『항심에 대하여』, Mary Wroth, Renaissance Stoicism, Seneca, Justus Lipsius, constancy, Urania, De Constantia,영미문학, 문화연구, 비교문학, 비평이론, English and American Literature, cultural studies, comparative literature, critical theory

정진만 Jin Man Jeong

DOI: Vol.57(No.5) 787-812, 2011

This essay aims to explore Herman Melville`s recognition and resolution of the vicious link between law and violence in his posthumous Billy Budd, Sailor (1924). In order to investigate the issues, this essay refers to Freud, Benjamin, Derrida, Lacan, and Zizek, all perceptive to the uncanny affinity of law and violence. Especially, Zizek`s arguments of "superego" as an embodiment of cruel and destructive violence supplementing the official law and of "love" as an ethical possibility beyond the limit of the problematic law are introduced in this study to make Melville`s reflection of the inseparableness between law and violence much clearer. John Claggart and Captain Vere embody the legal (superegoic) violence. Claggart even procurs secret enjoyment, in the name of maintaining positive law. Billy Budd discloses another violence defending his justness according to natural law. However, Melville suggests the possibility of suspending the problematic tie of law/violence through "love," as portrayed at the last part of the story. The two final words from Billy and Vere, as a sort of delayed dialogue between them after the event of their secret interview before Billy`s hanging, suggest that they finally distance from the obscene nightly law of superego-respectively from outward punitiveness toward Vere and from inward punishment for Vere`s excessive enforcement of Billy`s hanging-and identify each other`s lack as their own. Their love implicated in the last words is for the real other - in Lacan`s sense - who discloses the constitutive lack or incompleteness of beings and aporia of the law. This essay`s examination of Melville`s representations about the superegoic violence as the (im-)possible condition of law and the possibility of withdrawing from it would help us recognize Billy Budd, Sailor as the author`s own last word for the possible vision of love cutting the vicious knot of law/violence.

법, 폭력, 초자아, 사랑, 멜빌, 라깡, 지젝, Law, violence, superego, Love, Melville, Lacan, Zizek,영미문학, 문화연구, 비교문학, 비평이론, English and American Literature, cultural studies, comparative literature, critical theory

구은숙 Eun Sook Koo

DOI: Vol.57(No.5) 813-838, 2011

Toni Morrison`s ninth novel A Mercy delves into the colonial American history of the seventeenth century when Europeans began to migrate to the New World and when the first slaves were brought to Virginia. Morrison presents a diverse group of people such as white Europeans, an American Indian, a free black man, indentured servants, and slaves from Africa in order to explore the subjects of ownership, freedom and racism. She emphasizes the fact that most of the Europeans who came to America in the early seventeenth century were the people who were thrown out from the society such as felons, prostitutes, servants and children. By portraying how these castaways tried to settle in a new environment surrounded by unknown dangers and challenges, Morrison demystifies and reconstructs the myth of the birth of America as a nation state. In continuation of Morrison`s writings about love and the betrayal of love, her novel A Mercy explores the subjects of trauma, memory and subjectivity by choosing the topic of motherly love and its betrayal which she dealt with poignantly in Beloved. The female protagonist, Florens, is given away by her mother in partial payment of debt incurred by the owner of Florens`s mother. The traumatic memory of Florens`s separation from her mother shapes Florence`s character. She has to revisit the site of the original traumatic experiences of being given up by her mother in order to reconstruct her fragmented memory and past. The recurring dream of the traumatic incident that takes hold of Florens can be explained by the trauma theory of Freud, Cathy Caruth, Suzette Henke, and Judith Herman. The paper explores the self journey of Florens in which she faces the traumatic past and comprehends its meaning which enables her to construct her subjectivity by understanding the true meaning of being free and of owning oneself. In particular, it demonstrates how the process of writing a confession, a story about one`s history, enables one to reclaim the traumatic experience and to locate it in the narrative memory.

트라우마, 토니 모리슨, 『자비』, 이주, 주체, 인종차별주의, Trauma, Toni Morrison, A Mercy, Migration, Subjectivity, Racism,영미문학, 문화연구, 비교문학, 비평이론, English and American Literature, cultural studies, comparative literature, critical theory

손영희 Young Hee Son

DOI: Vol.57(No.5) 839-870, 2011

This study compares and contrasts Jane Austen`s novels of sensibility with those of Rousseau and Goethe. In Julie, or The New Heloise and The Sorrows of Young Werther, the passionate but doomed love of the heroine and her lover is juxtaposed with her passionless marriage to the virtuous husband. In Sense and Sensibility and Pride and Prejudice, Austen revises Rousseau and Goethe`s novels of sensibility to accommodate them to the puritanical English literary conventions. She parodies the basic plot of Menage a trois found in their novels of sensibility and transforms her novels into British Bildungsroman, focusing on the heroines` maturation. In Sense and Sensibility, Marianne stands up against the mercenary and snobbish high society. However, Austen represses Marianne`s sensibility since the indulgence in sensibility can bring about sexual fall, as is evidenced by the cases of the two Elizas. Marianne`s dangerous fever following Willoughby`s betrayal emphasizes that female sexual desire should be punished for her continued existence in the high society. The taming of her sensibility and body through the fever is posited as a prerequisite for the happy marriage. In Pride and Prejudice, Elizabeth favors the deprived Wickham over the wealthy Darcy. As Wickham turns out to be a debauched lover, Darcy snatches sexual charms from him and is transfigured into one of the most virtuous and attractive husbands in Menage a trois of the novels of sensibility. Acknowledging sexuality as a vital element of a courtship, Austen embeds sexual desire in dances and glances. However, Elizabeth has to repress sensibility and desire and the complete gratification of desire is continuously deferred to some indefinite period in the future. Marriage is a synecdoche for the union of the bourgeois and the aristocracy in Austen`s Bildungsroman and Marianne and Elizabeth are bestowed with happy marriage in return for repressing their sensibility and desire. Since their ``normality`` and ``maturation`` have been achieved at the expense of subversive sexual power of deviant sensibility, they look too impotent to gratify their desire when they finally secure comfortable but mediocre upper class life.

The Novel of Sensibility, Bildungsroman, Sentimental, Deviance, Normality, Sense, Sensibility, Desire, Marriage,영미문학, 문화연구, 비교문학, 비평이론, English and American Literature, cultural studies, comparative literature, critical theory

박찬부 Chan Bu Park

DOI: Vol.57(No.5) 871-887, 2011

In Lacanian terms, the real, which is a non-representative Ding an sich, is indirectly approachable only in and through language. This ``speaking of the real`` is made possible through a restoration of the missing link between one signifier, S1 and another signifier, S2, as is manifested in the Lacanian formula of metaphor. In Freudian terms of textual metaphor, the missing link is restored by substituting a new edition for an old edition of one`s historical text of life. This is what this essay means by the metaphorical/dualistic structure of the analytic/literary text. And this is a way of talking about an intertextuality between literature and psychoanalysis in the sense of the ``text as psyche`` and the ``psyche as text.`` Applying the ``signifying substitution`` to the Oedipus complex, the Oedipal child can find a meaning(s), "my erotic indulgement with my Mom is wrong" by metaphorically substituting S2: the Name of the Father for S1: the Desire of the Mother. This meaning leads to the constitution of the human subject and the formation of the incest taboo, one of the most significant distinctive features of the human being as distinguished from the animals. We can see a similar metaphorical structure of S1-S2 taking place in the literary texts such as Macbeth and "Dover Beach": in the course of the stage of life being substituted for the primal scene in the former, and the plain of Tucydides for a bed scene in the latter, respectively.

은유, 이원론적 구조, 텍스트, 문학, 정신분석, 실재, 프로이트, 라캉, metaphor, dualistic structure, text, Literature, psychoanalysis, the real, Freud, Lacan,영미문학, 문화연구, 비교문학, 비평이론, English and American Literature, cultural studies, comparative literature, critical theory

김봉률 Bong Ryul Kim

DOI: Vol.57(No.5) 889-910, 2011

Heracles has been adored as one of the bravest mythical heroes all times and all places because it was thought that he protected his people and lands from invasion, plunder, or enslavement. However, I argue Heracles should be criticized as a war machine of violence and murder. War is homicide itself, which means humans kill humans, unlike other violent and sensual animals such as dogs, apes or pigs. It is ironically ambivalent to celebrate an excellent hero in homicide in this age of nuclear weapons. This irony leads to S. Freud`s ``Death instinct`` or Malcolm Potts`s ``war genes``. Unlike Freud, Malcolm Potts insists that humans` war genes can be changed into peace genes because they were just remains of Stone Age. According to Apollodoros` myth or Euripides` tragedies, he was mad enough to kill his own sons and wife after he had murdered the king Lycos in Thebes. Though Rene Girard says that his madness was derived from contagion of violence and blood, I think that his madness came from horrible experiences of cruel wars as well as Hera`s maltreatment in his childhood. It will be demonstrated to be war neurosis, that is, PTSD(Posttraumatic Stress Disorder). In a different way from the modern media in which Heracles is being glorified as a purest macho and war machine, his old myths show the ambivalence of his violence and murder, and his daily misfortunes owing to his madness. In this sense, his myth is a kind of warning to the humans not to kill each other, or to stop wars.

헤라클레스, 광기, 동종살해, 전쟁신경증, 희생제의, "외상후 스트레스 장애", Heracles, madness, homicide, war neurosis, PTSD, sacrifice,영미문학, 문화연구, 비교문학, 비평이론, English and American Literature, cultural studies, comparative literature, critical theory