백준걸 Paek Joon Gul

DOI: Vol.59(No.5) 667-688, 2013

William Dean Howells has been widely recognized as a writer who formulated the theory of American realism in opposition to the increasing vulgarization of cultural taste, evidenced most dramatically by the ascendancy of sentimental novels and romantic historical novels. Howellsian realism has thus been understood as the cultural shield against the rising tide of capitalism and mass culture, and The Rise of Silas Lapham, among others, has been touted as the quintessence of the realist novel. The novel, however, is studded with the odd moments of excess strikingly at variance with realist norms, and these excesses can best be understood as the unacknowledged traces of mass culture. In short, this paper will show how The Rise of Silas Laphall1 feeds on, and is undermined by, the very element which it seeks to resist, by tracing mass-cultural excesses in Lapham. This paper will further argue that the novel registers less a retreat into the precapitalist agrarian community or a cultural war against capitalism, as some critics have claimed, than the relentless persistence of capitalism.

윌리엄 딘 하웰즈, 사일러스 라팜의 성장, 대중문화, 리얼리즘, 과잉, William Deam Howells, The Rise of silas Lapham, mass culture, realism, excess,영미문학, 문화연구, 비교문학, 비평이론, English and American Literature, cultural studies, comparative literature, critical theory

추재욱 Choo Jae Uk

DOI: Vol.59(No.5) 689-712, 2013

There are not a few researches on Darwin`s social and cultural impact upon the Victorian novels such as Charles Dickens`s, George Eliot`s, and Thomas Hardy`s as the writers reflected Darwinian elements into the relationship between the fictional characters and into the social and economic development of the human community portrayed in the novels. However, there are few academic papers interrogating the specific scientific elements of Darwin theory which were projected in the Victorian science fiction. In this paper, therefore, Darwinian concepts of natural selection and Lyell`s geological influence upon Darwin`s theory would be explored which can be found in the novels like Frankenstein, Dr. Jekyll and Mr. Hyde, and H. G. Wells` novellas. In the process of exploring the facts, moreover, we may recognize how the narrative in the stories made the matrix of stories associated with Darwin`s theory and how much strong the social and cultural responses of the Victorians to the theory were. Even though some people agreed to the idea that evolution involves progress, others believed that evolution would bring them to degeneration. Nevertheless, no one denies that everything is evolutionarily linked to each other because the theory has become strongly influential already. 50 at this moment we need to imagine how humans`` life can be free and independent from Darwinian mechanism.

진화, 자연선택, 다윈, 역진화, 빅토리아 과학소설, Evolution, Natural Selection, Darwin, Degeneration, Victorian, Sceince Fiction,영미문학, 문화연구, 비교문학, 비평이론, English and American Literature, cultural studies, comparative literature, critical theory

손영희 Son Young Hee

DOI: Vol.59(No.5) 713-737, 2013

The Eve of St. Agnes is a romance that resembles a series of gorgeous paintings redolent of Pre-Raphaelite paintings. Over these picturesque "paintings" Keats scatters dishonest stratagems that Porphyro uses to enchant Madeline. As Porphyro is identified with Keats in the act of writing the poem, the stratagems are equivalent to the devices that Keats employs to charm readers. For the readers The Eve of St. Agnes serves as an enchanting artistic commodity in verse, from which Keats subtly distances himself. Therefore, when Madeline and Porphyro flee away into the storm, Keats seems to send them to the "fairyland" where he imagines that poetry could be autonomous without the need to cater to commercialism. Pre-Raphaelite painters, inspired by Keats`s poetry, were intent on challenging the mannerism of the authoritative Royal Academy. However, after 1860, they became more attracted to the sensual and visual pleasure that luxurious objects and exotic foods depicted in Keats`s poems stimulate. Since bourgeois patrons and art collectors in the mid Victorian period were enthralled by the sensual pleasure Keats`s poems evoke, his poetry was the favorite source of subject matters for Pre-Raphaelite painters. Pre-Raphaelite paintings by William Holman Hunt, Arthur Hughes, and John Everett Millais were inspired by the picturesque romance of The Eve of St. Agnes. Nonetheless, they either distort Keats`s poem or overemphasize its sensual aspect or moral aspect; thus they fail to capture the ambivalence implied in Keats`s attraction to and distancing of visual arts in poetry.

존 키츠, 라파엘전파형제회, 시의 상품화, 선정주의, 시각예술, John Keats, Pre-Raphaelite Brotherhood, Commodification of Poetry, Sensationlism, Visual Art,영미문학, 문화연구, 비교문학, 비평이론, English and American Literature, cultural studies, comparative literature, critical theory

권지은 Kwon Jie Un

DOI: Vol.59(No.5) 739-757, 2013

The critical receptions regarding the political intention of Heart of Darkness have been largely divided into two camps: one that extols its critical attitude toward Belgian Colonialism in Congo, and the other that criticizes its compliance with the latter. Instead of taking a side with either of these camps, this article aims to propose a new way of reading Heart of Darkness by focusing on the discursive function of ideology. The main focus on ideology has shifted from a validating framework (i.e., truth/falsity) to a discursive one through which the individual incorporates him/herself into the symbolic social order. This article attempts to demonstrate that this semiotic mechanism of ideology is the fundamental element in understanding the political implications of Heart of Darkness. It begins with the effort to dismantle the legitimacy that colonial discourse has acquired. In order to do so, the work challenges the stereotyped images of the colonized by imagining its identity not marred with the Western gaze. This critical impulse, however, functions to reaffirm the colonial idea of the Other. The author attempts to present the colonized as unrepresentable and thus beyond the boundary of Western hierarchy, but this unrepresentability only brings out its mysterious and thus always-already objectified status. Taking this element into account, this article aims to show that the reconfirmation of colonial discourse in this work is less the result of Conrad`s own limitation than a perfect witness to the working mechanism of ideology, in which semiotic representations come to re-articulate cultural vocabularies commonly used within the society and thus end up buttressing the socially dominant value-system.

암흑의 핵심, 이데올로기의 작동방식, 재현 불가능한 타자성, 서구의 시선, 비어있는 기표, Heart of Darkness, ideology, the unrepresentable Otherness, Western gaze, empty signifier,영미문학, 문화연구, 비교문학, 비평이론, English and American Literature, cultural studies, comparative literature, critical theory

신두호 Shin Doo Ho

DOI: Vol.59(No.5) 759-783, 2013

Feminist scholars including ecofeminists tend to either dismiss the contemporary nature writer Terry Tempest Williams or forcibly attune her to their critical schemes, because they find it difficult to confine her works such as Refuge within their schemes. This difficulty largely arises from Williams` presumptive advocate for a special connection between women and nature through women`s bodies despite her apparent feminist causes both in her own life and her works. Williams` affirmation of women` s bodies and the women­ nature connection in Refuge, however, does not repeat a simple essentialist position; rather, she suggests women`s bodies and the women-nature connection as an ecopolitical space where women`s (toxic) bodies are results of cultural, social, and political activities. Williams` advocacy of materiality such as women`s bodies and physical nature and her positioning women`s bodies as an ecopolitical space are spontaneous results from her own life-long experience living intimately in the Utah desert land, transcending conceptual and ethical assertions of postmodern feminism and ecofeminism. Williams`s position becomes far more sensible and timely appropriate, considering that some science-minded postmodern feminists, whose trend is often called material feminism, have produced revealing facts in the late 2000s that vouch for Williams` affirming materiality of human bodies and nature and positioning women`s bodies-nature-culture connection as an ecopolitical space.

테리 템페스트 윌리엄즈, 윌리엄즈의 피난처, 자연-여성 본질주의, 물성페미니즘, 생태정치공간, Terry Tempest Williamsms, Williams` Refuge, essentialism, material feminism, ecopolitical pace,영미문학, 문화연구, 비교문학, 비평이론, English and American Literature, cultural studies, comparative literature, critical theory

장정훈 Jang Jung Hoon

DOI: Vol.59(No.5) 785-809, 2013

James Welch and Gerald Vizener reveal and reevaluate the history of exploitation to recover Native American voices and ways of life which have been silenced and marginalized in history. Their starting point of writing is the resistance to "the ruins" of white`s civilization. But they are obsessed by fear of racial annihilation simultaneously. So a resistance is not an end to them. As an extreme measure, they choose strategic reconciliation between Native American culture and white`s dominant culture to survive in the modem American society. James Welch`s Winter in the Blood, & Gerald Vizenor`s Chancers employ trickster discourses as "agonistic imagination," "aggressive liberation," and "a psychical cure." Their trickster discourse reconstructs and re-imagines the "real" causing the liberation of signifier "Indian" from the absolute fake of the white and American`s culture. Welch and Vizenor don`t think of traditionalism and assimilationism as the only way Native American can survive. That is, they should find ways to adapt and alter their tribal cultures and values to fit modem situations, while adopting a native paradigm. They assert that the tribal cultures and values may be altered and progressed by cultural exchanges, and the hybridization of different cultures.

전략적 융화, 트릭스터, 잡종성, 제임스 웰치, 제럴드 비즈너, Strategic Reconciliation, Trickster, Hybridization, James Welch, Gerald Vizenor,영미문학, 문화연구, 비교문학, 비평이론, English and American Literature, cultural studies, comparative literature, critical theory

이정희 Lee Chung Hee

DOI: Vol.59(No.5) 811-835, 2013

This paper aims to suggest the cyborg citizenship and the futuristic prospects of posthuman subjectivity, focusing on the embodiment of posthumanist in William Gibson`s Neuromancer. It is important to suggest the ethics of citizenship, because humans are augmented by the prothesis increase and live in the cyborg society by the development of technoscience. Case shows his desire to attain the transcendence in cyberspace as a humanist ideal and with his contempt to the body as a cowboy in cyberspace. Case gradually recognizes mind/body as the inevitable complementary elements, while he acts as an agent of Wintermute`s plot to unify with Neuromancer. This novel describes the influential power of excessive global capitalist as the spector of imperialism and gives the voices to the Rastafarians left behind the system as the postcolonial Zionites. Case shows the process of attaining the cyborg citizenship, returning from the alienation and death on the matrix to the life of reality by the help of Rastafarians who emphasize on the physicality and humanity. In conclusion, cyborg citizenship should be always represented in the basis of the embodiment. Gibson suggest that posthuman should pursue the optimization in the position of embracing the differences, have the capacity to live between the borders, and get out of holism, totality and dualism. Gibson emphasizes that posthuman should pursue the enhancement, extension and enlargement of existence through the correlations with mind/body and machine/human, and recognize the body as the essential rudimentary element for human survival.

윌리엄 깁슨, 뉴로맨서, 포스트휴먼, 사이보그 시민의식, 래스터패리언, William Gibson, Neuromancer, Posthuman, cyborg citizenship, Rastafarian,영미문학, 문화연구, 비교문학, 비평이론, English and American Literature, cultural studies, comparative literature, critical theory

주경진 Joo Kyung Jin , 이혜문 Lee Hae Moon

DOI: Vol.59(No.5) 837-861, 2013

This study examined the effects of feedback and learner uptake for Korean adult EFL learners. The two groups of learners, with and without the native speakers` feedback to the learners` target word production, performed the six picture-based story telling sessions which consisted of a pre-test, three treatment sessions, a post-test, and a delayed post-test. Results showed that of more target words were acquired by the feedback group, although both groups significantly improved in both post tests. However, there was no correlation between the number of successfully uptaken target words and that of acquired target words in both post tests, which suggests that the acquisition effect is not mainly due to the uptake of feedback. In contrast, significant correlation was found between the number of voluntarily produced target words during the treatment and that of target words produced in delayed post test in both groups, which suggests that of voluntary production is more powerful predictor for acquisition. The target words which the learners were unable to produce in the pretest session were voluntarily produced in the later treatment sessions probably due to their task-essentialness for the story-telling. Also, the feedback to the incorrect target words seems to have raised the learners` focus of form not only to the particular target words to which the feedback was given but also to other target words as well.

의미협상, 피드백, 수용, 리캐스트, 이끌어내기, meaning negotiation, feedback, uptake, recast, elicitation,영미문학, 문화연구, 비교문학, 비평이론, English and American Literature, cultural studies, comparative literature, critical theory

전준택 Joon taek Jun

DOI: Vol.59(No.5) 863-887, 2013

Though J. M. Barrie`s Peter Pan has been considered a conventional regular drama, some scholars have recently argued it is an example of traditional British pantomime, or a variation thereof. However its genre classification is becoming more complicated, as these arguments have used different source materials in support of their theses; some refer to Barrie`s 1904 manuscript, some the 1905 London premiere, while others cite the printed edition of 1928. The aims of this project are twofold: to establish that these three texts are very different from each other and to compare each text with the major characteristics of traditional British pantomime. By doing so this project suggests that Peter Pan, in its development from the manuscript to the printed edition, evolved into a unique, carnivalesque work of pantomime. To analyze this evolution, it is necessary to firstly understand what British pantomime is, as this can shed light on how Barrie altered or modified its conventional structure and deviated from its traditions. This paper, as the first part of the project, thus compares a traditional pantomime with Barrie`s manuscript. This will show that, from the very beginning of the writing, Barrie had pantomime in mind as a template, as the structure of the work, its subtitle and the transvestite characters all demonstrate. Thus Peter becomes a release of pure animal spirits, an expression of the essence of carnival and of the Saturnalia, turning the world upside-down.

제임스 매튜 배리, 피터 팬, 카니발, 판도마임, 초고, James Matthew Barrie, Peter Pan, carnival, Pantomime,manuscript,영미문학, 문화연구, 비교문학, 비평이론, English and American Literature, cultural studies, comparative literature, critical theory

윤은자 Yun Eun Ja

DOI: Vol.59(No.5) 889-913, 2013

This study has binary goals. First, of the U.S. publications of Korean folktales for the past decade (2000-2010), what tales are most frequently published? Are there any discrepancies between the folktales found in an elementary Korean textbook and folktales published in the U.S.? Secondly, are there any patterns in US publishing? What do the patterns and changes imply? The findings indicate that 54 books, separate books or compilations, have been published in the US for the past decade (2000-2010). Of them, the six most frequently published Korean folk tales are "The Heavenly Maiden and A Woodcutter" (9), "The Liver of a Rabbit" (7), "Heungbu and Nolbu" (7), "``The Green Frog" (6), "The Weaving Girl: Kyeonoo and Jikyeo" (63편), "Konggi and Potgi" (4). Of them, Heungbu and Nolbu and The Liber of a Rabbit are included in elementary Korean textbooks most frequently. The patterns found in the US publications for the past decade are the use of postmodern techniques such as intertextuality, multiple perspectives and multitude of voices through conscious alteration of traditional characters, no authoritative voice, and exploration of possibilities with no conclusion, 2) changes in values and virtues, and 3) the use of different genres such as graphic novels and plays. The increased variations of Korean folktales and crossing over the genre boundaries can expand the scope of Korean folktales in the global market but some critical questions should be posed-To what extent should the ownership of folktales be preserved? What standards should be applied in allowing for the right of performance of folktales?

한국전래동화, 번역, 개작, 미국출판, 변형물, Korean Folktales, Translation, Adaption, US Publication, Variations,영미문학, 문화연구, 비교문학, 비평이론, English and American Literature, cultural studies, comparative literature, critical theory