김소임 So Im Kim

DOI: Vol.49(No.2) 205-226, 2003

Ben Jonson is a self-claimed satirist opposed to a fantastic romantic comedy. In The Alchemist, Jonson satirizes the greed of London citizens. Not only the cheaters-Subtle, Face, and Dol-are motivated by greed, but also the cheated-Dapper, Drugger, Mammon and Tribulation-come to `the alchemist` to satisfy their own greeds. Alchemy becomes the means by which the greeds of both the cheaters and the cheated are exposed. Even though this play is a city comedy satirizing London life and the Renaissance ideas, Jonson never disregards the realm of fantasy, which is beyond the possible. Rather, Jonson actively uses fantasy to explore the nature and the depth of the characters` various desires. For instance, the cheaters persuade the cheated that their fantasy about a better self and a better world can come true through alchemy. Alchemy is used also as a metaphor for the characters` fantasy of transformation. As copper becomes gold through alchemy, the characters try to transform themselves and their world into better ones. In this play, the cheaters actively use different costumes and settings to cheat the victims. The cheaters have multiple identities and act and direct each other through their charades. Satire, fantasy and acting are three pillars of the play co-relating to one another. All three areas reveal Renaissance characteristics. This paper explores the ways in which these three elements are related and pursue how satire and fantasy are balanced in this play. In the last act, the fantasies turn our to be impossible; the alchemist runs away and Face goes back to his old self, the servant Jeremy. Satire seems to make absolute triumph over fantasy. But in the end of the play, Face directly speaks to the audience that he will "invite new guests," which implies that both new victims and new audience will join in his fraud and theater-two fantasy worlds. Fantasy survives.

환상, 풍자, 환영, 연극, 연금술, 상업주의, fantasy, satire, illusion, theater, alchemy, commercialism,영미문학, 문화연구, 비교문학, 비평이론, English and American Literature, cultural studies, comparative literature, critical theory

이명호 Myung Ho Lee

DOI: Vol.49(No.2) 227-250, 2003

In Go Down Moses, Faulkner returns to the issue of miscegenation, the historical trauma of the South, which was confronted in Absalom, Absalom!, but whose overcoming was still left unresolved. Instead of repeating the same trauma, Faulkner in this later novel tries to find an ethical way of the white descendants` repenting of the historical sin of their ancestors and mourning for the death of the victims sacrificed by slavery. Ike`s discovery of his grandfather`s abominable act of miscegenation and incest and his repudiation of his patrimony are undoubtedly the central work of mourning of the novel. But Ike`s repudiation cannot be a proper response to the specific tragedies of the victims. Though repudiating his tainted legacy and demystifying the ideology of innocence that framed the southern white generation, Ike evaporates the specific objects of his negation. Besides this ahistorical evaporation, what vitiates his negation is that the very idea of innocence is still kept within the wilderness into which he withdraws. Underneath his retention of the idea of innocence is ledged his deep-seated fear of miscegenation. Though Faulkner keeps an ironic distance from Ike`s adherence to untainted innocence and freedom, revealing its limit through Roth`s black mistress`s rebuke to Ike, this distance is not unfailingly maintained. He shares much of Ike`s acts, including his repudiation and ritual hunts in the wilderness. His creation of Lucas as the image of a Confederate soldier is a displaced expression of his fear of racial pollution by incorporating the black figure into the very ideal of the white Confederate father.

인종적 외상, 애도, 실재, 자아이상, 이종잡혼, racial trauma, melancholia, the Real, ego ideal, miscegenation,영미문학, 문화연구, 비교문학, 비평이론, English and American Literature, cultural studies, comparative literature, critical theory

김원중 Won Chung Kim

DOI: Vol.49(No.2) 251-269, 2003

A.R. Ammons`s Garbage is a study of human civilization in general at the end of 20th Century as well as an ecological apocalypse which warns man of the imminent danger of extinction of both humankind and the earth ecosystem. Watching the burning garbage heap towering toward the sky in the Florida landfill, Ammons feels garbage is an exact symbol showing the illusory ways of human life which is based on the false assumption about man`s places in this planet and consumption-oriented economy. But in this poem garbage does not mean only the discarded material waste, but includes all things that can be classified as garbage, such as the waste of human civilization about to collapse, and man`s hubris, and his own life nearing the end. As an archeological garbalogist in which he finds his own identity as a poet, Ammons digs up and examines garbage heaps to find "the spindle of energy." in which the cycle, composting and recycle of the nature occur. Ammons insists that the material garbage is the objective correlative of the spiritual garbage, because material garbage nakedly mirrors our ways of life and life is governed by spiritual values. he diagnoses that the most harmful waste is anthropocentic hubris, which champions human reason and language which reflects human consciousness. By arguing that not word but the world came first and nature presents the norm, he repudiates the fuzzy philosopher`s empty words which insist that words constitute reality. He wants, above all else, to burn away the dark language which estranges us from nature and leads us into a deeper mire of self-consciousness, and to refine a language of light which leads us into a harmonious mutual relationship with nature. This new language will help us to live in "the cruel but splendid tissue [of] biosphere" by teaching us how to "have a right regard for human life including all other life forms." His definition of poetry as a channel which "gets the mind back into a vital relationship" with things clearly shows the gist of his ecopoetics.

A. R. 에몬즈, 『쓰레기』, 생태시학, 생태언어, 문학과 환경, A, R. Ammons, Garbage, ecopoetics, ecological languge, environment and literature,영미문학, 문화연구, 비교문학, 비평이론, English and American Literature, cultural studies, comparative literature, critical theory

강용기 Yong Ki Kang

DOI: Vol.49(No.2) 271-288, 2003

Most critics including Louis Owens, Paul Gunn Allen and Susan Scarberry-Garcia have branded Momaday`s House Made of Dawn as a high modernist text, remarking that its plot is woven centering on an attainment of the protagonist Able`s holistic vision. By presenting ambivalent characters, dispersing the point of view and deconstructing the concept of linear time, however, the author renders a postmodernist reading of the novel possible. Furthermore, a multiculturalist appropriation of deconstruction allows the text to be read as postmodern novel per se. What Jacques Derrida, Michel Foucault and Jacques Lacan do in common is resist the discourse of presence and revalorize voices of absence at the same time. In HMD, Momaday`s implicit aspiration toward a democratization of cultural voices is essentially on the same track as a politically appropriated deconstruction. The Postmodernity of the work is reinforced by the strategic employment of characterization, time concept, and point of view. Straddled between white culture and Native American tradition, main characters such as Tosamah Ben, Francisco and Father Olguin as well as Able do not show any unified personality. According to the native perception, a familiar system of tenses-past, present, and future-is an illusion. Past or future is merely an extended present. By paralleling the description of Able9present) and that of Francisco(past), the author implies that past and present does not develop linearly but interpenetrate each other, which intends to deconstruct a linear development of human subjectivity. The dispersion of point of view also intends to debunk impossibility of unified personality. As much as Momaday`s characterization and the other technical contrivances problematize the oppressive logic of all-or-nothing in HMD, he aspires to articulate cultural interstices and attain even a cultural fusion by way of dialogical interactions between Euro-American culture and Native American tradition. In other words, the two complementary forces-eagle spirit and snake spirit which might be shared by the two cultures-could be interfused as much as Able`s dawn-running implicates a possibility of cultural transformation.

포스트모더니스트 텍스트, 해체, 토착문화, 화해, 문화융합, postmodernist text, deconstruction, indigenous culture, reconciliation, cultural fusion,영미문학, 문화연구, 비교문학, 비평이론, English and American Literature, cultural studies, comparative literature, critical theory

정문영 Moon Young Chung

DOI: Vol.49(No.2) 289-305, 2003

Tom Stoppard`s works are read as a series of transformational exchanges between the other texts quoted in his text and between his own texts early and later in his career. His later adapted film(1990) from his early play of Rosencrantz and Guildenstern Are Dead(1967) is a representative work which draws us into the process of transformation, especially as a transformational exchange between the two media of theatre and cinema. The concepts of Deleuze, "rhizome," "becoming," and "irreducible multiplicity" can be effectively used in understanding the characteristics of Stoppard`s world in transformation. Stoppard`s film of Rosencrantz and Guidenstern Are Dead can be also understood in terms of Deleuze`s analysis of modern cinema. Deleuze defines modern cinema as a cinema of the seer and no longer of the agent and a cinema of the time-image (the crystal-image) beyond the movement-image. Stoppard`s film is a cinema of the seer and his cinematographic image is a crystal-image in "a purely optical and sound situation" established in "any-space-whatever". In the film the two characters should learn how to see in order to liberate themselves from their already written fate in the text, i.e., the crystal. Thus, they have to undergo the process of "becoming-seers" in order to find a crack, a point of flight, a flaw, which can grow and transform the crystal itself by becoming its seed within itself. Stoppard`s transliteration between theatre and cinema can generate a transformational dynamic with which he can make us see the relationship between the two media and the problems of the media and he can liberate his theatre from being trapped within the crystal of the past time. Although Rosencrantz and Guildenstern fail in finding a line of flight in Elsinore Castle, the area of indiscernibility of theatre and cinema, we as spectators can see a possibility that they may take a flight from the closed circuit by becoming-seers.

톰 스토파드, 연극, 영화, 들뢰즈, 운동-이미지, 시간-이미지, Tom Stoppard, theater, cinema, Deleuze, movement-image, time-image,영미문학, 문화연구, 비교문학, 비평이론, English and American Literature, cultural studies, comparative literature, critical theory

홍기선 Ki Sun Hong

DOI: Vol.49(No.2) 307-330, 2003

This paper attempts to account for three kinds of periphrastic causative constructions in English in terms of two semantic factors. One is whether the causer exerts an influence directly on the causee or on the event which the causee participates in. The other is whether the causer gets directly or physically involved in the execution of the caused event or indirectly instigates the causee to execute the caused event. This notion of directness / indirectness has been mainly adopted to distinguish between lexical causatives and periphrastic causatives. Recently Shibatani and Pardeshi have proposed that there is an intermediate category between direct and indirect causations and that these different categories from a continuous semantic space. In this paper, adopting Shibatani and Pardeshi`s account. I propose that the semantic continuum of directness can account for subtle meaning differences among various forms of periphrastic causatives in English. Although there is no definite answer, we speculate on what kind of constituent structure would appropriately represent the semantic differences of causative constructions. We also observe that the notion can shed light on the diachronic development of English causatives. These accounts attempt to provide a comprehensive view of English causative constructions from both synchronic and diachronic perspectives.

영어 통사적 사동구문, 의미적 연속성, 직접성 / 간접성, English periphrastic causative constructions, semantic continuum, directness / indirectness,영미문학, 문화연구, 비교문학, 비평이론, English and American Literature, cultural studies, comparative literature, critical theory

최재헌 Jae Hun Choi

DOI: Vol.49(No.2) 331-348, 2003

Until very recently, studies on the seventeenth-century English poetry had been largely shaped by T. S. Eliot`s criticism of the metaphysical poets and by the reading strategies of the New Critics. New explorations of power, gender, ideology in the Renaissance, however, have not only provided radically new understanding of Renaissance texts but have also forced us to reexamine the critical, historical, and cultural presuppositions on which our readings are based. The aim of this paper is to explore the politics of desire in Songs and Sonnets through the re-reading of Donne. In a sense, all poetry is political, for texts inescapably reflect on society. Songs and Sonnets contain Donne`s most complicated exploration of love and embrace the various fields of philosophy, astronomy, law, medicine, sexology, and theology. "With the Copernican revolution in astronomical thought, there occurs a fundamental `displacement` of the Earth and of the privileged position accorded humanity," says Thomas Docherty. With the invention of the telescope and the compass, the use of the telescope relativized the phenomena of space and the mathematical compass was used to separate realm of difference, between an outside and inside space. Donne`s poems reflect this historical change and new relations of time and space which makes up the fundamental elements of human social condition and existence resulting from the Copernican revolution. His poems thus become a manifestation in writing of the revolutionary principles of the post-Copernican philosophy, so they demand re-reading from the new perspectives.

존 던, 『노래와 소네트』, 욕망, 정치학, 시간과 공간, John Donne, Songs and Sonnets, desire, politics, time and space,영미문학, 문화연구, 비교문학, 비평이론, English and American Literature, cultural studies, comparative literature, critical theory

박종성 Jong Seong Park

DOI: Vol.49(No.2) 349-368, 2003

This paper aims to define V.S. Naipaul`s unique position in postcolonial discourse, focusing on his major political novels such as Guerrillas (1975) and A bend in the River (1979). The gist of my argument lies in the view that Naipaul steers a middle course, straddling between the First World and the Third World. That is, he seeks a third way of reading the world, going beyond both the shortcomings of a colonial discourse and the pitfalls of an anti-colonial discourse fuelled by the rise of the Third World nationalism. To demonstrate Naipaul`s double act of questioning the validity of the two opposing discourses, I consider those two novels that have courted controversy among Third World critics and readers alike. To elaborate my claim that Naipaul is an outsider with an independent voice, I refute Edward Said`s claim that Naipaul is a biased writer who panders to the west by negatively portraying the Third World. As one way of challenging Said`s view, I draw attention to an air of collusion between the bogus white liberalist and the fake Third World revolutionary. By doing so, I argue that Naipaul pinpoints their sometimes common failures as barriers to the genuine progress of many postcolonial societies. I believe that such an approach signals a new paradigm in postcolonial discourse that is at the present time deeply divided by a confrontation between colonialist and nationalist camps. In conclusion, I make a bold claim that Naipaul`s ruthless analysis of the problems plaguing the Third World is actually designed to produce a fresh start for a better world. His good intention, however, is pitted against the general view that he is the master of the negative voice of the Third World. I believe that Naipaul`s approach of maintaining a double vision is valid and quite refreshing, albeit controversial, particularly in this multi-cultural age when crossing cultural and national boundaries becomes increasingly a norm rather than an exception. What is so distinctive to Naipaul is that he is a dissident equipped with the spirit of non-serviam (not serving any forms of the dominant power). Clearly he emerges as a very inspiring cultural critic conducting negotiations between the two worlds.

나이폴, 탈식민주의 담론, 이념적 입장,『게릴라들』, 『거인의 도시, 』, V. S. Naipaul, postcolonial discourse, ideological position, Guerrillas, A Bend in the River,영미문학, 문화연구, 비교문학, 비평이론, English and American Literature, cultural studies, comparative literature, critical theory

임진희 Jin Hee Yim

DOI: Vol.49(No.2) 369-391, 2003

`Korea` has never been forgotten in Korean American literature. One persistent theme dealt with by Korean American writers is the preoccupation with `nation.` Korean American literature revolves around a web of collective trauma of guilt and shame due to the double impact of Japan`s colonization of Korean and racial discrimination of the West. The Korean-American self as a collective shows the trace of the trauma of allowing their nation to be colonized and raped. Korea as a nation has produced a lot of drifting, han-ridden spirits in a colonialized history. Conquered nature/ nation / body in the matrix of human ecology is where struggles based on ace, social strata, and colonial power structure were held. Korean American literature takes a form of the ritual for the denied, forgotten and the misrepresented to regain their long negated "Names," in a continuum through the return of the denied history and reassertion of social memory. This third space is an indistinct territory with gothic, oral, mythical, surreal, and grotesque qualities and is also decenteralized and deterritoralized. This paper explores the third space where the holocaust experience exists in a matrix of possession, haunting, and exorcism within the continuum of the living and the dead. Korean postcolonial national aesthetics are made of this uniquely Korean-American third space composed of a collectively remembered stories, folk songs, and legends. This paper reads Korean American literature as both a communal ritual of the nation thematically and a communal text aesthetically, based on a collective memory of the nation where the living and the dead, the past and the present are intertwined.

한국계 미국문학, 상태미학, 국가, 탈식민, 하위주체, Korean American Literature, ecological aesthetics, nation, postcolonial, holocaust,영미문학, 문화연구, 비교문학, 비평이론, English and American Literature, cultural studies, comparative literature, critical theory

이용은 Yong Eun Lee

DOI: Vol.49(No.2) 393-418, 2003

Much Ado About Nothing, categorized as one of Shakespeare`s earliest plays, deals with the matter of language and meaning. The idea that a given entity has only one word that represents it, and that that entity has only one meaning was the general view of the period. However, the plot of Much Ado About Nothing shows that reality can be constructed by language and many realities can be created by the intervention of language. This suggests that, instead of the conventional view of the period, a modern constructionist view of language (Saussure & Barthes) was inherent in Shakespeare`s writing. In Much Ado About Nothing, reality is not a fixed entity, being neither single nor stable. Here, reality is consistently reconstructed by the game of language, therefore changing into a new reality or many new realities. When Don Pedro creates the circumstances that Beatrice loves benedict and conversely benedict loves Beatrice, those circumstances are not just limited to fabricated stories, but they become stark social realities. Due to this, Don Pedro gains power by creating a reality. Moreover, beguiled by Don John`s unfounded plot, Don Pedro and Claudio believe that Hero is unchaste. Consequently, Claudio breaks off the betrothal. Thus, Don John also gains power through his use of deceptive language. However, Shakespeare also in part adopts the realist view of language. Thus, he doesn`t allow language and fiction to overwhelm and control reality. Therefore, Shakespeare intends to give language a fixed meaning and make reality stable and constant. This is done through Dogberry, the law enforcing officer, who pursues the single truth in the world. Due to Dogberry`s pursuit of truth, Don Pedro comes to lose the power he once had, by using the power of language immoderately. In conclusion, it is affirmed that reality is dependent on language. Furthermore, power can be obtained through the use of language, by establishing a given reality. Also, power can shift amongst individuals when new realities are forged due to the use of language. Thus, we see an interrelation between language, reality, and power in Much Ado about Nothing.

현실, 언어, 권력, 의미, 엿듣기, reality, language, power, meaning, eavesdropping,영미문학, 문화연구, 비교문학, 비평이론, English and American Literature, cultural studies, comparative literature, critical theory

이일환

DOI: Vol.49(No.2) 419-422, 2003

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