영미문화English and AmericanCultural Studies(2007년 12월 31일 발행)

한국영미문화학회 한국영미문화학회 2007 영미문화 Vol.7 No.3

영미문화English and AmericanCultural Studies(2008년 4월 30일 발행)

한국영미문화학회 한국영미문화학회 2008 영미문화 Vol.8 No.1

잃어버린 세대의 다시 말하기와 문화의 변용

김일구 ( Il Gu Kim ) 한국영미문화학회 2016 영미문화 Vol.16 No.1

As known to many, Stein once told Hemingway, All of you young people who served in the war. You are a lost generation.“ Since then, ‘Lost Generation’ has been known to us as a group of expatriate American writers who became disillusioned after their traumatic experiences during World War I. The group of writers who moved to Paris believed that American culture was barren, capitalistic, and unspiritual. In order to overcome this disillusionment, they established many of the modernist narrative styles which were greatly influenced by French culture and art. Members of the ‘Lost Generation’ writers were often literally disenchanted and lost yet tried desperately to live normal lives to overcome the tragic effects of the First World War. Although they were known as the ‘bad kids’ and ‘flaming youth’, they were independent and self-sufficient, exploring their own set of values. Like Hemingway’s use of ecclesiastes as the epigraph in The Sun Also Rises, ‘Lost Generation’ writers tried to find balanced values in nature and art to avoid the nihilistic attitudes. To these nomadic writers, Paris was the center of their literary activities and inspiration. This paper traced the modernist art of Lost Generation from Stein, Hemingway and Fitzgerald back to Flaubert’s realism, Cezanne’s impressive painting and Picasso’s cubism. Also, Barnes and Bradbury’s use of parrot is analyzed to show the essence of modernism which tries to find out the descriptive way of showing the reality as it is. However, in contrast with realistic use of objective correlative, the rewritten parrots in modernist works reveal more multifaceted and convoluted aspects of humans’ unlived lives in cubism. Overall, as reflected in Walter Whitman’s optimistic effect on Stein, this paper finally mentions that the materiality of language and optimism in American culture function as the positive transformation of European pathological value for the American ‘Lost Generation’ writers.

From Paha Sapa to Hometree: The Romanticized American Frontier of James Cameron`s Avatar and the Reproduction of Historical Amnesia

( Kyung Sook Boo ) 한국영미문화학회 2013 영미문화 Vol.13 No.3

Both high and popular culture have continuously encouraged the American public to romanticize the frontier as a place of exploration, redemption, and quintessential American self-making as well as to regard space as such a frontier. James Cameron`s 2009 film, Avatar, is located firmly within that tradition, setting its imperialistic narrative of invasion for commercial gain, complete with the subplot of ethnographic exploration in the name of science, on the fictional planet of Pandora in the futuristic year of 2154 as a new frontier for America. Cameron`s narrative, however, structured around the “going native” and intercultural romance themes, is in fact a retelling of the battle over Paha Sapa during the Black Hills gold rush in the 1870s, culminating in the Battle of the Little Bighorn, and a retelling of Kevin Costner`s Dances with Wolves, Disney`s Pocahontas, or Marcus Nispel`s The Pathfinder. Cameron insists that while Avatar does implicitly criticize America`s role in the Iraq War and that Americans do have a “moral responsibility” to understand the impact of their nation`s military campaigns, that “that`s not what the movie`s about-that`s only a minor part of it” and that the film is about how we interact with nature and other human beings, and how we are “trashing our world and maybe condemning ourselves to a grim future”; Cameron does not acknowledge the parallels between his film`s plot and Native American history. This essay interrogates Cameron`s claims about the film`s central message and of its proclaimed progressiveness, and by offering a reading of the film that refuses to ignore the unacknowledged mix-matched historical context of the plot and that also exposes how Jake Sully`s “redemption” presents a much more colonial and imperialistic narrative than that of John Dunbar`s, John Smith`s, or Ghost`s, seeks to situate it within the myth of the romanticized frontier and identify it as an uncritical reproduction of the ideology at the center of such romanticization. Further, this essay discusses the implications and ramifications of both the public`s and the director`s inability to recognize such ideological reproduction, and of the impact of such narratives being misrepresented as progressive on the basis of innovative film technology or environmentalist concerns.

이룰 수 없는 사랑 이야기: 기의를 통해『주저하는 근본주의자』읽기

박재영 ( Jai Young Park ) 한국영미문화학회 2013 영미문화 Vol.13 No.3

Mohsin Hamid`s The Reluctant Fundamentalist is on one level an “incomplete” love story between Pakistani man Changez and American woman Erica, but on a figurative level it allegorically portrays the ideological and hegemonic conflict between two worlds: the United States and the Middle East. In order to manifest the latter interpretation, it is necessary to borrow the concept of “sign” from structuralist and deconstructive criticisms. As structuralists like Ferdinand de Saussure reveal, language is sign, and each sign is dissected into a signifier and a signified. However deconstructive critics like Jacques Derrida argue that a signified of a sign will become another signifier and consequently produces different, multiple signifieds. They assert, therefore, the ultimate signified is continuously postponed, which Derrida calls differance. Likewise, Hamid`s signs, which appear in the names of characters and the company where Changez is employed, conceive multiple signifieds. For example, Chris, Erica`s late boyfriend, could signify Christopher Columbus the explorer and Christ the savior; Changez, Genghis Kan the conqueror; Erica, one ruler and America; Underwood Samson, the church builder and Samson the judge. Examining signifieds in the fiction, this paper scrutinizes the perception induced from the multiple signifieds and traces differance. And in order to contextualize the signifieds, it encapsulates the strife history of Pakistan and the hegemonic intervention of the United States. This is a study of parole, the surface phenomena, in Hamid`s monologue fiction.

포우의『낸터킷의 아서 고든 핌의 이야기』: 자전적인 삶과 정체성 탐색의 여행

민경택 ( Kyung Taek Min ) 한국영미문화학회 2013 영미문화 Vol.13 No.3

The aim of this study is to analyze Poe`s The Narrative of Arthur Gordon Pym of Nantucket to reveal his autobiographical elements and search for identity. In The Narrative of Arthur Gordon Pym of Nantucket, Poe created the narrator and hero, Pym, as his fictional alter ego, and reflected his own autobiographical elements to him. Pym`s friend Augustus Barnard represents Poe`s real brother William Henry Leonard Poe as Augustus is two years older than Pym, the same difference between poe and his elder brother Henry. Also Augustus died at the same date of Henry`s death. Poe attempted to demolish or blur the boundary between reality and fiction to search for his own identity. Pym`s journey toward the Antarctic symbolizes a journey of search for his own identity. Even though this journey seems to be an adventurous journey, it is imaginary or fictitious rather than real and visible. Throughout the journey, Pym is often confronted with many difficulties and mysteries in the boundary between life and death. Pym`s voyage is also an attempt to disintegrate the invisible wall between appearance and reality. In this book, there are many symbolical values and philosophical implications about our life besides Poe`s personal search for identity. Therefore, this work is a philosophical exploration about the inexplicable mistery of our life and nature.

Race over Psychoanalysis: Toni Morrison`s The Bluest Eye Revisited

( Jun Yon Kim ) 한국영미문화학회 2013 영미문화 Vol.13 No.3

This paper reconsiders how (much) psychoanalysis is available in the discourse of race and ethnicity, by reexamining the motif of incest/rape and the wretched subject position of the black father in Toni Morrison`s novel The Bluest Eye. For this purpose, first, I look briefly at a couple of African-American critics` views on the complex critical relationship between race and psychoanalysis. Then, exploring the call-and-response pattern as an African-American version of intertextuality, I argue that the motif of incest in The Bluest Eye should be discussed in its relation to similar issues in other African-American literary texts, rather than analyzed as a symptom of desire in the psychoanalytic context. In the third part of this paper, in order to illuminate the reason why the African-American fiction writers are concerned with the negative subjectivity of black male characters, I look into the historical condition of the problematic formation of black fatherhood in the antebellum South. Finally, for a better understanding of the way psychoanalytic theory can help us analyze the social pathology of racism, I look through the various interpretations on Cholly Breedlove`s rape of his daughter and then I read closely how the desire and fantasy of the failed black father makes his daughter a wretched victim.

싱클레어 루이스의『애로우스미스』와 치유의 공간

김일구 ( Il Gu Kim ) 한국영미문화학회 2013 영미문화 Vol.13 No.3

Sinclair Lewis`s Arrowsmith is a book which is often recommended as the medical ethics text for training the premedical and medical students because the hero Martin Arrowsmith shows the pursuit of the noble ideals of medical research for the benefit of mankind and of selfless devotion to the care of patients. However, Arrowsmith`s cases are not always successful in terms of the holistic doctor model. His medical ethics is often disturbed by his ambition to become “the men of measured merriments” or the others` medical commercialism. Moreover, Arrowsmith often cynically resists the temptation of secular success by following the isolated and antisocial research model for the fundamental and ideal scientism. In this regard, Sinclair Lewis`s Arrowsmith is rather close to the book which shows the difficulty of the science and society`s coexistence in medical profession. Sinclair Lewis`s biographical elements reveal the author`s connection with medicine, his romantic recalcitration and his strong religious tendency. In his book, Sinclair Lewis applies his romantic selfless dedication to science and makes science the godly ideal Science to resist the societal influence to corrupt the pure science. Martin Arrowsmith`s ending in the woods for the lonely ideal research is the proof of his selfless yet anti-holistic attitudes toward curing patients and their diseases. The illness, however, as the holistic conception of the disease, is scatteredly described as the clearing and healing space in Lewis Sinclair`s fiction like Arrowsmith`s anti-imperialistic and meditative attitudes toward the natives. Also, the extreme conflicts between society and science revealed in the fiction effectively makes The Arrowsmith the space of healing where the individual garden place of peace in mind and brain, almost like the religious meditation, is as important as the holistic treatment which harmonizes science with society. The solitary ending of his fiction is ironically suggestive in this regard.

담론의 억압 속에서 자기 목소리 내기: 헨리 제임스의『워싱턴 스퀘어』읽기

손정희 ( Jeong Hee Sohn ),조성훈 ( Seung Hun Cho ) 한국영미문화학회 2013 영미문화 Vol.13 No.3

This paper examines Dr. Sloper`s house in Henry James` Washington Square (1880) as a space of discourses in conflict. There appears, in Washington Square, multiple discourses, such as the discourse about the emerging metropolis, a critique of sentimental romance, and the comparison between Europe and America. Dr. Sloper, an author of those discourses, maintains his control over the house by ruling out the chances of other discourses which might destroy it. Dr. Sloper`s way of ruling discourses includes a prohibition, an exclusion, a reasonable judgement, and an induction which are similar principles to those presented by Michel Foucault. In the house, dominated by her father`s discourses, Catherine Sloper has had no chance to express her own voice. However, as she meets Mrs. Penniman and Morris Townsend, and recognizes the world beyond her father`s order, Catherine comes to realize that her father`s order is not reasonable but vicious. Catherine gradually tries to hold her own private space separated from that of her father, which promotes to disrupt Dr. Sloper`s order. This means not only that Dr. Sloper no longer predominates over Catherine but also that she now ``performs`` the role of an ‘author`` who employs irony. In the end, Catherine establishes her own order of discourse in the house and finds her own voice,

On the Feminine for the “ex-”, a way out of being

( Mijeong Kim ) 한국영미문화학회 2016 영미문화 Vol.16 No.2

This paper aims to explore an other way to reflect on the self through woman, through the feminine, as a mode of being. In other words, in order to say about “how to re-think the self, in a different way,” if I start from the issue of the feminine, how and why can this “a different way” be linked to woman? This question implies several more questions; what is woman? what is the feminine? what does it mean “a different way”? how can we say of “a different way”? Or, why can we take woman as the medium to “be” in a different way? If woman gives us a “way out,” that is to say, if (S)he opens out a way for our out-being, ex-sistence, standing outside ourselves, that is, ek-stasis, does this enable us to overstep egotism? Then, how can we re-flect and say about this “out (as ‘ex-/ek-’)” in terms of woman, the feminine? This paper starts from these questions. Woman is an explosive overflowing force, movement, and process, which displace ‘within’ into ‘outside,’ as what Irigaray would call a “disruptive excess.” Thus, I start from saying of the “place” in which woman itself takes place as overflowing. By referring to Derridian, Lacanian, and Heideggerian terms, I hope to foreground the ex-sistential space of woman.