김현아 Hyun Ah Kim

DOI: Vol.59(No.2) 173-196, 2013

This thesis intends to examine whether the state or the public judging an individual`s desire or satisfaction have the moral right and objectivity to make that judgment through analyzing “In Broad Daylight”, an episode from Under the Red Flag, written by the Chinese-American author Ha Jin. “In Broad Daylight”, which is set in China after The Cultural Revolution, shows the unreasonableness of mass psychology and the injustice of a national power through describing the public humiliation of the prostitute Mu Ying. The controversial point at issue is that the government dignitaries and the Red Guards are they themselves involved with prostitution. Through developing this process, Ha Jin shows the ignorance and amorality of the state and the public in general. Jacques Lacan asserts that desire has its roots in something that is lacking and queries his readers as to whether they are acting according to their desires or not, and further advises them to never give up on their desires. However, consideration for the social punishment that may follow an individual`s desire often makes people thwart the realization of that desire. This research, therefore, intends to contemplate the way in which the state and the masses exercise their power over individuals and how the state and the masses fall into the predicament of abusing power while not achieving justice or morality in the procedure of an individual`s trial.

하진,「 백주 대낮에」, 라캉, 문화혁명, 군중심리, Ha Jin, “In Broad Daylight”, Lacan, the Cultural Revolution, mass psychology,영미문학, 문화연구, 비교문학, 비평이론, English and American Literature, cultural studies, comparative literature, critical theory

김일영 Il Yeong Kim , 조영지 Young Ji Cho

DOI: Vol.59(No.2) 197-219, 2013

Critics of Woolf`s Mrs. Dalloway fall into two groups: one group of critics maintain that Woolf criticizes the snobbery of Mrs. Dalloway as an upholder of middle-class ideology, while the other group pay their attention to her unconscious desire to find something meaningful that goes beyond middle class ideology. These two seemingly incompatible aspects, however, co-exist in her, and can be explained in terms of Lacanian “femininity” because it is characterized by the coexistence of conflicting desires to stay in the “symbolic”/society as well as to pursue the “real” excluded from the symbolic. Mrs. Dalloway is a typical exemplar of the Lacanian femininity. She who chose a “socially” stable man as her husband, now prepares a party to have “socially” influential people under her roof. During the party, however, she retires to her “little room” to think about the death of Septimus who committed a suicide as defiance against Lacanian “symbolic”/society, and approves of his suicide as a means of preserving his own “treasure”/Lacanian “real.” She, however, ultimately returns to the party because Lacanian “subject” can “emerge” only in the symbolic. In this sense, Mrs. Dalloway is the embodiment of Lacanian femininity, because, “she is not not at all there[the symbolic]. She is there in full. But there is something more”.

『댈러웨이 부인』, 라캉의 여성성, 상징계, 실재계, 라캉의 주체, Mrs. Dalloway, Lacanian Femininity, Symbolic Order, Lacanian Real, Lacanian Subject,영미문학, 문화연구, 비교문학, 비평이론, English and American Literature, cultural studies, comparative literature, critical theory

김경순 Kyung Soon Kim

DOI: Vol.59(No.2) 221-244, 2013

The structure of Frankenstein revolves around the event of creation, blurring the definite boundaries between a human and a monster. As embodied in the monster that Victor created, a piece of the Real?a stain of traumatic irrationality and ontologically ruptured humanity-will be discussed in conjunction with Victor as an epistemological and ideological subject. Victor becomes an organization of patriarchal scientists armed with scientific knowhow which has amazing abilities but uses them irresponsibly. For his part, Victor insists that digging around among corpses does not bother him, that he is particularly invulnerable to supernatural horrors. It seems that Victor is the spontaneous agent legally responsible for his scientific project. He freely assumes and identifies with the task of creation. He slaves away in solitude and wards off human connection. He is blind and unaware of the full import of what is happening. This is the realist’s imbecility or a naive empiricism. When he perceives the monstrosity that he has created, the sight horrifies him. Such a monstrosity marks the limits of the elitist ideology of the scientific world and epitomizes the real desire of the ideological subject. The prevalence of paradox such as Victor`s hatred of the monster and the destruction of everyone near to him both exposes the way ideology operates in modern societies and embodies the presence of the Real which belies the universalization of hegemonic ideas of scientific world. That`s why my study focuses on the problems of ideology and the Real in the novel.

『프랑켄슈타인』, 상징계, 실재계, 이데올로기적 주체, 자의식, Frankenstein, the Symbolic, the Real, the ideological subject, self-consciousness,영미문학, 문화연구, 비교문학, 비평이론, English and American Literature, cultural studies, comparative literature, critical theory

김혜연 Hae Yeon Kim

DOI: Vol.59(No.2) 245-267, 2013

The purpose of this paper is to illuminate the devilish characteristics of “plague-wind” in John Ruskin`s The Storm Cloud of the Nineteenth Century in the traditional view of Demonologists, Augustine and Aquinas. Ruskin sees the effect of air pollution, “plague-wind” as the signs of moral corruption and sin in the modern society and identifies it as Christian evil. Thus, this paper begins by focusing on the fact that the “plague-wind” is described as absence of the natural wind. It is influenced by the most famous concept of metaphysical evil, which is established by Augustine and Aquinas: “Evil is privation of Good or absence of Being”. The “plague-wind” is the lack of natural wind and even nothing: it is not observed and written in the historic documents and completely excluded from the process of God`s creation. Second, there is no external motivation that can explain the “plague-wind”, which is also one of the diabolic characteristics. According to Augustine and Aquinas, the motivation of the Evil`s deeds usually remains unknown, because Evil simply enjoys destroying Good. Ruskin specifically highlights that “the plague-wind” seems to exist only for destroying natural wind. Third, it is identified with nameless wanderer. The prominent feature of Satan is that he does not have name and home. Disconnected from the root, Satan remembers nothing and loses his own identity. Thus, he wanders endlessly changing his name. The original name of the “plague-wind” also does not appear on this writing, and it is depicted as an inexplicable wind blowing from nowhere like a wanderer.

존 러스킨, 『19세기의 폭풍 구름』, 전염병 같은 바람, 악마론, 어거스틴, John Ruskin, The Storm-Cloud of the Nineteenth Century, plaguewind, Demonology, Augustine,영미문학, 문화연구, 비교문학, 비평이론, English and American Literature, cultural studies, comparative literature, critical theory

선희정 Hee Jung Sun

DOI: Vol.59(No.2) 269-294, 2013

This paper examines whether Sigmund Freud`s concept of the uncanny can give new depth to our understanding of one of Gothic`s central figure, Ann Radcliffe. The Italian (1797) is probably the high-water mark of her achievement, and the uncanniness of the phenomena is the biggest draw of this novel. I refer to Freud`s magnificent, troubling, and inspired essay of 1919, “The Uncanny” because Freud offers us a much improved theory of terror, a theory which helps to explain the dreadful terror in Radcliffe`s The Italian. In the most basic definition, the uncanny, the particular species of the frightening, is the feeling of unease that arises when something familiar suddenly becomes strange and unfamiliar. Taking my lead from Freud I argue in this study that Freud`s uncanny offers an interesting perspective on the theme of the fear and terror in Radcliffe`s The Italian. I try to make clear how Radcliffe`s world of Gothic novel is so evidently one of the uncanny, a new human experience of strangeness, anxiety, bafflement, and intellectual impasse, by focusing on the aesthetic notions of the uncanny of ambivalence, defamiliarization, otherness. The Radcliffian atmosphere of “dreadful uncertainty” creates the conditions for the uncanny. The ‘otherness’ of Italy plays out the central issue of foreign-ness and familiarity that Freud treats as integral to the logic of uncanniness. Freud notes that to many people the height of the uncanny is represented by anything to do with death, dead bodies, the return of the dead, spirits and ghosts, superstitions, premonitions, the evil eye, the double, strange repetitions and coincidences. Many of these appear in The Italian, and Radcliffe`s character Schedoni becomes the prototype for uncanny villains.

앤 래드클리프, 『이탈리아인』, 프로이트, 언캐니, 고딕, Ann Radcliffe, The Italian, Freud, uncanny, Gothic,영미문학, 문화연구, 비교문학, 비평이론, English and American Literature, cultural studies, comparative literature, critical theory

정명희 Myung Hee Chung

DOI: Vol.59(No.2) 295-317, 2013

Jacob`s Room is a self-reflexive novel on how to write without using the conventional forms of novel-writing. In this work, she exhibits a double narrative: the life of Jacob is narrated and, at the same time, there is a story of how to represent Jacob in her writing. In Jacob`s story, Jacob feels depressed because of his overwhelming sense of belatedness in front of the old civilization and fails to achieve his own proper self-identity. The narrator, however, utilizes her own sense of belatedness to her advantage and perfects a new modern novel in the work. Woolf thematizes her aesthetic theory in the novel and problematizes the realistic notion of reality. She suggests Paterian impressions as an alternative. Her impressions do not represent a simple shift from an external reality to an inner and subjective reality. Nor is her new form experimental because it rejects having a traditional plot and character. Her new reality, “life itself”, includes the ordering and organizing process of the mind and, thus, she has to incorporate it in representing her character. What is called objective reality to her is an empty room whose “wall” or “envelop” is already “composed” by the cultural classification system. Woolfian imaginative writer can always find a pattern in the chaotic and atomic flood of impressions, which are impersonal in the first place. The task of modern writer is not to find a new subject matter and invent a new form. It is to create Jacob`s room, a geometric space in which we can make connections between opposites and contradictions, such as reality and fiction, life and death.

실재, 인상, 페이터, 방, 더블 내러티브, reality, impression, Pater, room, double narrative,영미문학, 문화연구, 비교문학, 비평이론, English and American Literature, cultural studies, comparative literature, critical theory

김혜진 Hye Jin Kim

DOI: Vol.59(No.2) 319-341, 2013

This essay explores the ways in which Hannah Crafts uses the black female slave`s voice to manipulate and subvert the existing system of white patriarchy in nineteenth century America. The Bondwoman`s Narrative (c.1850s) is the first novel by a black female slave, which remained unpublished for 150 years until it was discovered by Henry Louis Gates in 2001. Just as Gates revives the novel from its long silence, Hannah the narrator conjures up the ghostly presence of female black slaves who have been ignored in American history. Using and extending Toni Morrison`s concept of the“ ghosts in the machine,”this study argues that The Bondwoman`s Narrative is a literary attempt to conjure up the most invisible, silenced black female slave in white patriarchal America. Rose`s ghostly curse against her oppressor and Hannah`s correlated narrative both serve to destroy the Lindendale dynasty: the symbolic white patriarch of nineteenth century America. Using the narrative process of "rememory," Hannah reiterates black female slaves` collective experiences, thereby restructuring American history to the perspective of a female slave. Crafts the writer also uses the white lawyer Trappe, the “nut and bolt” of the very mechanism of the white patriarchal lineage, to internally deconstruct the absurdity of its system from the inside. The Bondwoman`s Narrative, therefore, redefines the white patriarchal lineage as an oppressing machinery and finally reinforces the black female slave`s voice firmly within American history.

흑인 노예 여성, 기계 속 유령, 토니 모리슨, 재기억, 노예서사, black female slave, ghosts in the machine, Toni Morrison, rememory, slave narrative,영미문학, 문화연구, 비교문학, 비평이론, English and American Literature, cultural studies, comparative literature, critical theory