김지영 Ji Young Kim

DOI: Vol.58(No.4) 565-588, 2012

This paper aims at reconsidering ``suture,`` a key concept in early Lacanian film criticism, with a view to narrowing a supposed gap between early Lacanian and later Lacanian film criticism. Early Lacanian film theorists, among whom Jean-Pierre Oudart, Jean-Louis Baudry, Laura Mulvey and Daniel Dayan, to name a few, are prominent, focus on cinematic signifying system as well as its ideological effects on shaping subjectivity of the audience. Initiated by Jacques-Alain Miller`s article on suture as the logic of signifier and grafted into film as the logic of the cinematic by Oudart`s writing, the concept of suture was established as a key word in early Lacanian film criticism, In their taxonomy, suture refers to the processes by which the audience are stitched into the story-world of a film, The audience are drawn into the film and take up positions as subjects-within-the-film such that they make sense of and respond to what the film represents as they are encouraged to do so by the film itself. On the other hand, later Lacanian film critics, who are much influenced by Lacan`s later emphasis on the Real, focus on concepts such as gaze, petit objet a, fantasy, rather than suture. They are more concerned with the failure of suture and the disruption of the Symbolic than the ideological effects of suture and the consolidation of the Symbolic, They require a break from the previous approach of Lacanian film theory which centers around the Imaginary and the Symbolic, However, early Lacanian and later Lacanian film theory do not manifest as much disparity as they are supposed to do, for both are against the ideological manipulation of suture. Slavoj Zizek, a leading scholar of later Lacanian psychoanalysis, revives the concept of suture as a patch of the Symbolic which covers the gap, if not always successful.

봉합, 라캉, 밀레, 우다르, 보드리, 데이언, 맥고완, 지젝 suture, Jacques Lacan, Jacques-Alain Miller, Jean-Pierre Oudart, Jean-Louis Baudry, Daniel Dayan, Todd Mcgowan, Slavoj Zizek,영미문학, 문화연구, 비교문학, 비평이론, English and American Literature, cultural studies, comparative literature, critical theory

황은주 Eun Ju Hwang

DOI: Vol.58(No.4) 589-609, 2012

This research compares a future society described in Ray Bradbury`s Fahrenheit 451 (1953) to modern technopoly. The main protagonist of the novel, Guy Montag, is a fireman who burns books in a future society which does not allow people to read or own books. The future society which controls the expansion of knowledge is similar to technopoly which Neil Postman defines as a culture where people passively react to overflow of information. Bradbury compares Montag to several characters, such as his wife Mildred and Captain Beatty. With this comparison, Bradbury lets his readers look back themselves who live in a sea of information without being aware of the domination of technopoly. This research suggests that the reason people do not know that knowledge is controlled and limited is because they do not distinguish between knowledge and information. They misunderstand widely available information is knowledge as characters in Fahrenheit 451 feel stuffed with information. Since the 1990s, scholars and writers such as Neil Postman and Nicholas Carr have expressed problems with the excess of information, however Bradbury already predicted through Fahrenheit 451 in 1953 that the development of technology does not mean a higher level of knowledge. This research suggests what modern human beings have lost in vast amount of information rather than what they have gained.

디지털 미디어, 지식과 정보, 니콜라스 카, 테크노폴리, 통제사회 Digital Media, Knowledge and Information, Nicholas Carr, Technopoly, Societies of Control,영미문학, 문화연구, 비교문학, 비평이론, English and American Literature, cultural studies, comparative literature, critical theory

황훈성 Hoon Sung Hwang

DOI: Vol.58(No.4) 611-632, 2012

Beckett`s life-long struggling with death may be illuminated in terms of the Western tradition of thanatology as well as Philippe Aries`s anthropological classification of death. Among the Western tradition, Beckett`s oeuvre incarnates memento mori, timor mori, nihilism, theatrum mundi, life as afterlife, and the transsubstantiation of the self. Among the five views of death Aries suggests, Beckett appears to foreground the death of the self and the invisible dirty death. In a world devoid of transcendental Signified, Beckett`s resident is "a poor player/That struts and frets his hour upon the stage." Our contemporary vision of death is dominated by the dirty death and timor mori resurrected from the cultural icon of danse macabre in the late Mediaeval age as vividly dramatized in W;t by Margaret Edson. Beckett stands in no man`s land: Lucky complains of divine aphathia as well as scopes at the possibility of God`s existence like Hamm. Beckett`s way of getting out of the dilemma is laughing a mirthless and dianoetic laugher. To bourgeois class who shudder at the sight of Grim Death after forgettable years of indulgence and addiction to capitalist consumption, Beckett seems to preach, your life is a death-in-life, you are not born yet until you are baptized with existential awakening as Gregor Samsa in Kafka`s Verwandlung, or Tolstoy in Confession.

사무엘 베케트, 죽음, 죽음학, 삘리뻬 아리에, 티모르 모리, 메멘토 모리, 크랍의 마지막 테이프, 모든 추락하는 것들 Samuel Beckett, Death, Thanatology, Philippe Aries, timor mori, memento mori, Krapp`s Last Tape, All That Fall,영미문학, 문화연구, 비교문학, 비평이론, English and American Literature, cultural studies, comparative literature, critical theory

한영림 Young Jim Han

DOI: Vol.58(No.4) 633-653, 2012

This paper discusses the two major Korean Shakespeares, Kim Myung-Gon`s King Uru and Oh Tae-Suk`s Romeo and Juliet, in answer to the request made by Stanley Wells at the 2006 Craiova Shakespeare Festival: theatre practitioners should have ``something worthwhile to say`` before they put something of their own in Shakespeare`s place. Kim and Oh, who have won international acclaim for their adaptations, present ``something worthwhile to say`` by bringing Shakespeare to the world in the light of traditional Korean astronomy. The star map named ``Cheonsang yeolcha bunya jido,`` which was founded in 1395 and designated as the No. 228 National Treasure of Korea in 1985, is employed as a means by which to bring ``something worthwhile to say`` to Shakespeare: it works as a symbol of the cosmic power to restore the divided kingdom and strengthen the kingly power in King Uru; its concept of Hyeonmu, the northern seven lodges of the twenty-eight constellations, is associated with the deaths of not only the lovers but also the whole members of their families in Romeo and Juliet. It is representative of the sunny, light and fiery force of yang in King Uru, whereas of the shady, dark and watery force of yin in Romeo and Juliet. Thus these two productions differ in their approaches, although they make the relevance of traditional Korean astronomy recognizable by redrawing the bounds of Shakespearean tragedy genre: King Uru reminds us of the human capacity for self-recovery, while Romeo and Juliet the human capacity for self-destruction.

전통 천문학, 김명곤, 오태석, 우루왕, 로미오와 줄리엣 traditional astronomy, Kim Myung-Gon, Oh Tae-Suk, King Uru, Romeo and Juliet,영미문학, 문화연구, 비교문학, 비평이론, English and American Literature, cultural studies, comparative literature, critical theory

민경숙 Kyung Sook Min

DOI: Vol.58(No.4) 655-678, 2012

Doris Lessing, who considers science and technology as instruments of capitalism, deals with the theme of ``biological evolution`` in The Sirian Experiments, the third book in the Canopus in Argos: Archives series. One of her themes that repeats throughout is that of ``spiritual evolution,`` and in The Four-Gated City she even used ``biological evolution`` as its metaphor, This paper analyzes The Sirian Experiments using scientific knowledge such as the concept of ``biological evolution`` from Charles Darwin``s evolution theory and Edward O. Wilson``s sociobiology. Lessing concludes that while ``biological evolution`` not accompanied with ``spiritual evolution`` puts humans in existential problems and mental breakdown, the one in equilibrium with the other can bring social and political revolution. Lessing`s concept of ``spiritual evolution`` is basically a product of her holistic view and her own philosophical view that human evolution is a necessary process following the Universal Order, which shows that she is influenced by Sufism. The basic tenet in Sufi philosophy is to achieve equilibrium between the rational and non-rational modes of consciousness. Lessing incorporates her rational and irrational ideas into The Sirian Experiments to make a field for confluence where the biological, the sociological, and the spiritual thinking converge.

도리스 레싱, 사회생물학, 생물학적 진화, 영적 진화, 수피즘 Doris Lessing, sociobiology, biological evolution, spiritual evolution, Sufism,영미문학, 문화연구, 비교문학, 비평이론, English and American Literature, cultural studies, comparative literature, critical theory

김혜진 He Jin Kim

DOI: Vol.58(No.4) 679-700, 2012

This study aims to examine Mark Twain`s criticism of American capitalistic ideals in the late nineteenth century. During this second industrial revolution, industry showed rapid growth and capitalism established an order, while America suffered under the monopolization of capitalistic conglomerates. This resulted in the widening gap between the rich and the poor and the dehumanization caused by rapid industrialization. In A Connecticut Yankee in King Arthur`s Court, Hank Morgan, the protagonist--who represents nineteenth-century America`s industrialism, individualism, and capitalism--is sent back in time to the sixth century of Arthurian England. Hank attempts to introduce nineteenth-century technologies and machines to build a capitalistic system in the middle ages, However, Hank`s efforts lead to disaster in which the country and civilization he worked to build is completely destroyed, Although Twain does not deny capitalistic ideals, he criticizes the "governmentality" that operates Hank`s reform system to the extreme. Hank values efficiency and utilizes human beings as capital. Hank`s economic reason not only transforms the Round-Table knights into speculators but also transforms their religious acts and abstract ideals into moneymaking businesses. The destructive ending anticipates the World Wars and the Great Depression in the first half of twentieth century and even serves to predict the dangers that follow.

통치이성, 통치성, 자본주의, 자유주의, 경제적 인간, 도금시대, 훈육, 안전장치 governmentality, capitalism, liberalism, homo oeconomicus, The Gilded Age, training, the apparatus of security,영미문학, 문화연구, 비교문학, 비평이론, English and American Literature, cultural studies, comparative literature, critical theory

권지은 Ji Eun Kwon

DOI: Vol.58(No.4) 701-721, 2012

This paper aims to revisit William Faulkner`s Absalom, Absalom! by focusing on the corporeal body and its role in dismantling the Southern ideology of white patriarchy. The latter, which is represented by Thomas Sutpen and his attempt to establish a white male dynasty, is a symbolic space in which the corporeal body turns into a symbolic one through the process of inscribing social ideologies on it. However, this symbolic space is also a contending site between the two bodies. The symbolic body of Sutpen cannot entirely erase its corporeal traces, and therefore the corporeal body, which is buried but nonetheless existent, threatens to undermine rules and premises of the symbolic order. Given that, this paper approaches Faulkner`s critique of the Southern white patriarchal ideology from the tension that the corporeal body and the symbolic body create. The ``flesh`` roughly corresponds to racial and sexual otherness, namely black flesh and the homoerotic desire of male body. Although they-as the matter of race and that of gender - function in different levels of signification, they still share a common purpose in revealing the logical paradox within Sutpen`s symbolic order, The idea of pure whiteness that Sutpen subscribes to is a concept that prerequisites the existence of blackness. Likewise, his idea of male homosociality based upon patriarchal legacy stands precariously on the verge of disintegrating into homoetoricism. As internal otherness that Sutpen`s symbolic order cannot fully incorporate, the corporeal body functions to indicate the limitation of Sutpen`s Design and its body-signification process.

윌리엄 포크너, 한 방울의 법칙, 부정성으로서의 백인성, 자기동일성, 동성애 William Faulkner, One-Drop Rule, Whiteness as Negativity, Homosociality, Homoeroticism,영미문학, 문화연구, 비교문학, 비평이론, English and American Literature, cultural studies, comparative literature, critical theory

이성범 Sung Bum Lee

DOI: Vol.58(No.4) 723-752, 2012

Although his mythic poetry deals with the fall and resurrection of Albion as the origin of humankind, William Blake (1757-1827) simultaneously links it to the professionalization and unification of disciplinary knowledge itself. He particularly takes a great interest in the cross-referential relation of poetry to science. He argues for the communication of poetry and science on equal footing with each other without the former`s prioritization over the latter, or vice versa. In his works Vala, or The Four Zoas (1797-1807) and Jerusalem: The Emanation of the Giant Albion (1804-1820), on which I focus in this essay, Blake`s primary problematic is to display strong conflicts among different systems of knowledge. I approach this issue in light of the ideological clash of Newtonian thought, Romantic thought, and postmodern thought. In his poetry, Blake thematizes the very clashes of these different thought patterns. From the standpoint of Romantic thought, first of all, Blake problematizes Newtonian Enlightenment. He criticizes abstract universalization both in poetry and science, which Urizen, one of four Zoas, propagates. Protesting against Urizen`s Newtonism, Los values "living form." Thus, Blake demonstrates, through this figure, that poetic imagination and scientific organicism are discursively communicative. Blake, however, also questions the network of Romantic science and Romantic poetry so as to suggest what current critics would call postmodern thought. Blakean postmodernism pursues the self-similarity of organic structure in science and poetry. Precisely, Blake sees polypus as a proliferation of organic body; he arranges four Zoas` self-repetitive stories in a non-linear way. Blake aspires for the conflicting coexistence of different thought patterns.

사슬, 섬유조직, 폴립, 미세한 특질들, 뉴턴 과학, 감미로운 과학, 포스트모던 사유 chain, fiber, polypus, minute particulars, Newtonian science, sweet science, postmodern thought,영미문학, 문화연구, 비교문학, 비평이론, English and American Literature, cultural studies, comparative literature, critical theory

김춘희 Choon Hee Kim

DOI: Vol.58(No.4) 753-782, 2012

This paper attempts to look at how the question of cultural identity can be discussed in terms of which "a family of the minds" as a unit can be given meaningful form of interpretation. I found its real possibility in the James family, especially in Henry James Senior, William James, and Henry James Junior since they represent important cultural context reflecting their European relationship in terms of American cultural consciousness. This research is divided in two parts; the first part of this study consisted of the elder James`s role as a source of moral aesthetic consciousness for the two children, the second part consisted of showing different aspects of inter-relationships between father and sons and between brothers in the process of identity construction. I examine different aspects of the identity formation process of William James and Henry James Junior by arguing different ways of making relationship with their father`s philosophy to illuminate how they reflect and represent American cultural consciousness, and to define the meaning of the Jamesian mind in American cultural history.

문화 정체성, 문화의식, 미국, 유럽, 제임스 가(家), 부친 헨리 제임스, 소설가 헨리 제임스, 윌리엄 제임스 cultural identity, cultural consciousness, America, Europe, James family, Henry James Senior, William James, Henry James Junior,영미문학, 문화연구, 비교문학, 비평이론, English and American Literature, cultural studies, comparative literature, critical theory

왕철 Chull Wang

DOI: Vol.58(No.4) 783-807, 2012

This study compares and contrasts Freud`s "work of mourning" which mostly appears in his memorable essay "Mourning and Melancholia" and Derrida`s theory of mourning which appears in various works such as MEMOIRES for Paul de Man, The Work of Mourning, and others. Freud maintains that the mourner begins to sever emotional ties to the lost object through a labor of memory and eventually completes the work of mourning. It is a "testing of reality" that motivates the mourner to begin to relinquish emotional attachment to the lost object. Derrida, however, challenges Freudian work of mourning by saying that true mourning lies in "respecting the Otherness of the Other," Derrida suggests that Freud`s "normal work of mourning" is "unjust betrayal" of the lost object because it "kills" and "devours" the other and thereby makes it part of the self. So he proposes that work of mourning has "to fail in order to succeed": "success fails" and "failure succeeds," There is an enormous, even epistemological, chasm between Freud who states that mourning, "however painful it may be, comes to a spontaneous end" and Derrida who states that "mourning is interminable, Inconsolable, Irreconcilable." and "I mourn Therefore I am," The former is the voice of "testing of reality" and common sense whereas the latter is that of utopian ethical vision. Yet neither seems to get the upper hand and they are kind of forced to maintain an ongoing dialogue with each other, for true mourning seems to lie somewhere in between.

애도, 우울증, 프로이트, 데리다, 내사, 융합 mourning, melancholia, Freud, Derrida, introjection, incorporation,영미문학, 문화연구, 비교문학, 비평이론, English and American Literature, cultural studies, comparative literature, critical theory