피츠제럴드의 <야곱의 사다리>읽기: 문학치료 상황으로 살펴 본 촉진자와 참여자의 관계

손정희 ( Sohn Jeong Hee ),조성훈 ( Cho Seong Hun ) 한국문학치료학회 2015 문학치료연구 Vol.36 No.-

이 글은 피츠제럴드의 <야곱의 사다리>(1927)의 등장인물인 야곱과 제니의 관계를 문학치료적인 상황을 드러내는 것으로 살펴보려고 한다. 초기의 문학치료는 읽기 중심의 독서치료가 주를 이루었으며 이는 참여자와 문학의 일대일 관계 속에서 진행되었다. 하지만 상호작용적인 독서치료에 이르러서는 촉진자와 참여자 그리고 텍스트의 삼자 구도를 통한 치료 방법을 사용하면서 촉진자의 역할이 중요해졌다. 이러한 구도 속에서 촉진자는 참여자와의 상호작용을 통하여 적절한 반응을 이끌어낼 수 있어야 한다. 작품에서 야곱이 제니가 가진 문제들을 해결하고 배우가 되도록 도와주는 과정은 상호작용적 독서치료에서 촉진자가 참여자의 문제해결을 위하여 돕는 것 과 유사하게 진행된다. 참여자로서 제니는 가정결손, 낮은 지능,목적 없는 삶 등 십대 청소년들이 가질 수 있는 문제점들을 가지고 있으며, 촉진자로서 야곱은 그녀의 환경 및 교육수준 등을 적절하게 파악하여 해결 방법을 제시해줄 필요가 있다. 현명한 촉진자로서 야곱은 제니의 지적 수준을 파악하고 텍스트로서 책 대신에 다양한 상황들을 제시해 준다. 현대의 독서치료 역시 책에 한정하는 것이 아니라 비디오,연극, 그림 등 다양한 재료들을 텍스트로서 활용하여 서로 다른 수준의 참여자들에게 적용하고 있다. 야곱과 제니의 만남과 대화는 그 자체로서 문학치료의 모습을 하고 있으며, `도입단계-작업 단계-통합 단계_새 방향 설정 단계1로 구성된 테트라 시스템과 유사하게 진행된다. 이러한 과정들을 통하여 제니는 자신의 미숙한 언어 수준을 향상시키고,대인관계 기술을 습득하고、강인한 자아를 가짐으로써 완벽하게 사회 속에 편입된다. 특히 제니의 편입과정이 단순하게 사회 시스템의 요구에 대한 순응이 아니라 전통적인 여성의 이미지와는 다른 새로운 개성을 지닌 여성으로서 온전하게 받아들여졌다는 점에 있어서 그녀의 성장과 발전은 가치를 지닌다 This paper examines the relationship between Jacob and Jenny in F. Scott Fitzgerald`s〈Jacob`s Ladder>(1927) in view of the context of literary therapy With its change of emphasis on from reading to interactive process, interactive bibliotherapy emphasizes the role of a facilitator and purposes to remedy problems through the triad of participant-literature-facilitator. In the triad, facilitators must make their efforts to produce positive effects by interacting with participants. In 〈Jacob`s Ladder,> the relationship between Jacob and Jenny resembles that between a facilitator and a participant. Jacob, a scouter, leads Jenny to be an actress and helps to solve a myriad of her problems as if a facilitator deals with a participant`s mental problems. Jenny, from a broken family, is a teenager girl with adolescent problems such as low education level and an aimless life. Taking her backgrounds into account, Jacob wisely gives her different situations not a book, as a text. As a matter of fact, in the current bibliotherapy, a text is not limited to a book but includes a variety of materials-videos, plays, pictures and so on. The process of Jenny becoming an actress shows Tetra System of bibliotherapy, which consists of Initial phase, Action phase. Integration phase, and Reorientation phase. Going through such a remedy, Jenny enriches her vocabulary and develops social sldlls. Thus, she can finally assimilate herself to the mainstream society. It is crucial that her assimilation means that existing society accepts a new woman who has an individuality different from that of a traditional woman.

사회개혁운동에 대한 '잠재적 풍자' : 호손의 『블라이드데일 로맨스 』

손정희(Jeong Hee Sohn) 영미문학연구회 2001 안과 밖 Vol.10 No.-

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길먼과 글쓰기: 새로운 가정성 제안을 통한 여성주체의 치유 모색

손정희 ( Jeong Hee Sohn ) 영미문학연구회 2015 영미문학연구 Vol.29 No.-

Arguably, Charlotte Perkins Gilman’s whole life was a process of struggling against her deep-seated anxiety about losing her mind, vividly fictionalized in her famous short story, “The Yellow Wallpaper.” Through her writing, however, Gilman tried to cope with her trouble caused by oppressive domesticity imposed upon women. Furthermore, Gilman saw her trouble not only as her own, but also as that of women of her day. In this respect, writing provided Gilman with the opportunity to depict alternative ways of defining domesticity. This paper examines how Gilman’s writing becomes a tool for healing woman’s plight by reading some of her short stories and poems. In these works, Gilman portrays how women are in the state of lethargy and tiredness in the idealized space of the home which was in effect the locus of women’s oppression. Gilman presents alternative ways of looking at the long-held conventional ideas about domestic womanhood, of revising the distinctions between male and female roles, and of advancing radically new plans of domesticity. Ultimately, writing these works functions as a therapeutic process for Gilman in which she freely creates a fictional space where formidable cultural prescriptions of domesticity are adjusted and remodel led, and readers are in turn invited to share the process of healing the invalid status of womanhood.

독자에 대한 호손의 구애: 『일곱박공의 집』의 결말에 대한 재고

손정희 ( Jeong Hee Sohn ) 한국근대영미소설학회 2000 근대영미소설 Vol.7 No.2

This paper attempts to read Nathaniel Hawthorne`s The House of the Seven Gables, focusing on interpreting the ending which has been the most controversial issue in reading this work. The point has been that the ending is forced to a happy ending contrary to the logic of the story line, with a sudden cooperation of unexpected elements. In trying to explain why Hawthorne created such an ending, the paper notes two points: first, the ending is similar to that of domestic novels by women writers, and secondly, Hawthorne created the ending to cope with the rapidly changing literary situations of the 1850s. The literary marketplace of Hawthorne`s day was marked by a massive production of domestic novels. These novels helped disseminate domestic ideology and the cult of True Womanhood, and did not fail to produce a happy ending. Hawthorne`s sense of his authonal position and the need for winning the reading public became keener when he was writing this work right after a moderate success of The Scarlet Letter. At the same time, however, Hawthorne began to devise the concept of `romance,` which can be read as the writer`s effort to establish his authonal position against the changing literary market. When we read the happy ending of The House of the Seven Gables, in which Holgrave, a radical reformer figure, gets suddenly converted to a conservative and married to Phoebe, the proponent of domestic ideology, apparently, it seems that Holgrave forgoes his radicalism because of Phoebe`s domestic influence. And the ending seems to demonstrate that Hawthorne simply succumbed to the reading public`s wish that stories should have happy endings, or to his desire for commercial success However, considering that the happy ending is not wholly initiated by Phoebe`s domestic influence, but by Holgrave`s reckoning with the vengeance passed down by the ancestral feud, it is not clear that Holgrave has forsaken his radicalism in total. Therefore, the ending apparently resembles that of domestic novels and Hawthorne seems to woo the reading public, but it is the outcome of Hawthorne`s strategy to create a romance with a radical message underneath a happy ending.

포스터의 『교태부리는 여자』 연구: 페미니즘 선언 또는 도덕적인 이야기?

손정희 ( Jeong Hee Sohn ) 한국근대영미소설학회 2004 근대영미소설 Vol.11 No.1

In the critical discourses, Hannah Webster Foster`s The Coquette (1797) has long been read as one of seduction novels fraught with didactic moral messages. However, recent criticism rereads the work as a novel with subversive feminist intents. Basically following this latter group of critical viewpoints, and taking into consideration the historical and cultural background in which the work was produced, this paper attempts to read The Coquette as a moderate feminist manifesto with all its equivocal didactic elements. Eliza Wharton, the heroine in The Coquette, is portrayed as a woman who struggles to choose a husband of her own free will. She hesitates between a boring but respectable suitor, Reverend Boyer, and a charming but immoral rake, Major Sanford, in spite of her friends` uniform view of Boyer as a better match. Eliza`s indecisiveness, after a while, leads Boyer to leave her, and she finally falls to a victim of Sanford`s seduclton and dies in childbirth. This story seems to confirm the Republican Ideology in which woman`s proper place was confined to a moral center in the family, in the role of a virtuous wife and mother. On the other hand, however, Eliza`s story shows that the status of woman in the early Republic was narrowly limited, and that the ideas of individual independence and freedom were not open to women. Ironically, however, Eliza`s determination to pursue her own freedom is not supported by the tightly-knit circle of her female friends who staunchly vouch for the woman`s role prescribed by the Republican Ideology. Although Eliza`s female friends show a deep sympathy for her conflict and plight, a more subversive possibility of female communal vision is safely contained by a conservative message in the moralistic ending. Therefore, The Coquette can be read only as a moderate feminist manifesto, a `modest proposal` to criticize the limited status of woman in the early America.

Establishing Authorship: A Comparative Reading of Hawthorne`s The Artist of the Beautiful and Melville`s The Bell-Tower

손정희 ( Jeong Hee Sohn ) 한국근대영미소설학회 2004 근대영미소설 Vol.11 No.2

Provided that the author is an ideological product who participates in the dominant social discourse produced in the nexus of power and knowledge, as Michel Foucault argues, a literary work, after all, can be a cultural product by a writer under specific circumstances. In this vein, this paper attempts to explore how Hawthorne and Melville were struggling with the idea of authorship in the mid-nineteenth-century American cultural context, by a comparative reading of Hawthorne`s The Artist of the Beautiful and Melville`s The Bell-Tower, a piece considered to be most greatly influenced by Hawthorne. The literary situation in which Hawthorne and Melville wrote can be characterized by a conflict between the concept of art as a Romantic pursuit solely legitimized by the autonomy of an artist and the utilitarian and practical demands of the society. Under the circumstances, Hawthorne and Melville shared a deep concern with how to resolve the conflict. The Artist of the Beautiful and The Bell-Tower provide a different rendition of each writer`s struggle with the Romantic idea of authorship, portraying Owen Warland and Bannadonna, the artist figures who strive against the social demands of utilitarian values. As a result, Hawthorne ironically questions artistic aspirations totally isolated from social demands by distancing himself from the protagonist who vouches for the Romantic concept of art in the ending. By contrast, Melville glorifies the value of an extreme pursuit of the artistic ideal even at the complete cost of social values by suggesting the protagonist`s death as more tragic. In brief, Hawthorne does not seem to accept the Romantic idea of art wholly, whereas Melville seems to persistently stick to the Romantic idea of autonomous authorship.

계급의 여성화?: 『마그렛 하우스』와 『명목상의 동업자』에 나타나는 소외와 개혁

손정희 ( Jeong Hee Sohn ) 한국근대영미소설학회 2010 근대영미소설 Vol.17 No.1

대서양횡단 혼종성의 정치학: 『루벤과 레이첼』 에 나타난 미국적 국가 정체성 만들기

손정희 ( Jeong Hee Sohn ) 한국근대영미소설학회 2012 근대영미소설 Vol.19 No.3

From its foundation, America had been deeply rooted in transatlantic experiences. In recent critical discourse, transatlantic studies have played a significant part in reading early American novel. Accordingly, it has been argued that the category of early American novel should expand to include novels which have transatlantic background and theme. Susanna Rowson`s Reuben and Rachel can be one prominent example of this new reading. Reuben and Rachel delineates a fictionalized history of Columbus, who becomes the founder not only of a new nation, but of the extended family that the novel represents through ten generations. This family history involves a series of transatlantic crossings and encounters between two different racial identities. I argue that the novel represents transatlantic hybridity, a term which I use in recourse to Homi Bhabha`s concept. Even with its depiction of some cases of hybridization between two different cultures, however, Reuben and Rachel reinscribes American national identity. Although transatlantic hybridity represented in the novel apparently points to a subversive implication that the nation was founded on the premise that it liberally incorporated the Other, Reuben and Rachel, the tenth generation from Columbus himself, are described to position themselves as the most virtuous citizens of the American Republic in the end. Despite its potential for transatlantic interpretation, then, Reuben and Rachel again corroborates the argument that the rise of the American novel is closely interrelated with building the new nation in its nascent phase.

『나의 안토니아』에 나타난 다양성의 공간인 서부: “미국인들”과 그들의 “아메리칸 드림”

손정희 ( Jeong Hee Sohn ),김여진 ( Yeo Jin Kim ) 한국근대영미소설학회 2013 근대영미소설 Vol.20 No.1

This paper examines how the characters cope with the pioneering experience of im/migration to the West in Willa Cather`s My Antonia. Jim Burden, the narrator of the novel, has migrated from Virginia to Nebraska while Antonia Shimerda has immigrated from Bohemia to America. In Cather`s view, whether they are American or European in origin, Jim and Antonia are placed into a similar situation in which they have to face the state of being uprooted in the West as an im/migrant. Antonia stays and settles down in Nebraska all through the story, while Jim moves around several places all over America. Even though he achieves the status of a successful lawyer, Jim feels disoriented and uprooted, always missing Nebraska as his home. On the other hand, Antonia is projected as an ideal pioneer. Having struggled against all difficulties of prairie life, Antonia finally succeeds in leading an enriched life as a farmer, wife and mother. She is depicted as a symbol of a positive possibility that the West of America was projected as the site of the American Dream fulfilled. In addition to Antonia, Cather portrays other female characters, such as Francis Harling, Lena Lingard and Tiny Soderball, as self-sufficient, independent immigrant women who succeed in running a business of their own in the West. Unlike male writers, Cather reveals the neglected aspects of women`s history in the West by dramatizing the success story of these pioneering female characters who achieve the American Dream in the Western frontier.

『 여성 미국인』은 ‘미국소설’ 인가?: 미국소설의 발생과 대서양횡단 관점의 재고

손정희 ( Jeong Hee Sohn ) 미국소설학회 2014 미국소설 Vol.21 No.3

Critics of early American novels have argued that the rise of the American novel was deeply rooted in the idea of building the American Republic in its nascent phase. In recent critical discourse, however, this thesis has been counterattacked by other critics who emphasize that migration and interaction across the Atlantic were a palpable fact in early American world. In fact, transatlantic studies leads us to reconsider the naming of William Hill Brown``s The Power of Sympathy (1789) as the first American novel. On the basis of transatlanticism, this paper attempts to open a possibility of embracing many works before Brown``s The Power of Sympathy as part of the American novel. Following this argument, this paper explores Unca Eliza Winkfield``s The Female American (1767) as one of the American novels. As one of Robinsonades, the novel presents an anti-domestic adventure story rendered in the transatlantic and American context. The central character is a woman who is biracial, multilingual, and boasts a transnational heritage. By projecting an ideal vision of a racially-intermixed female``s active participation in building a new nation, the novel turns out to be a kind of American national fantasy. Given these factors, the novel may be safely called as the American novel. However, the point of a transatlantic perspective is not only to recover similar novels as the American novel, but also to raise an awareness of rethinking the boundary of the American novel.