Congratulatory Remarks by Dr Eamonn McKee, Ambassador of Ireland

학회자료 한국제임스조이스학회 2010 제임스조이스저널 Vol.16 No.2

한국제임스조이스학회 창립 30주년을 맞이하여

홍덕선 한국제임스조이스학회 2009 제임스조이스저널 Vol.15 No.1

한국제임스조이스학회 30년을 돌아보며

김종건 한국제임스조이스학회 2009 제임스조이스저널 Vol.15 No.1

The Program of 2010 International James Joyce Conference

학회자료 한국제임스조이스학회 2010 제임스조이스저널 Vol.16 No.2

Foreword

학회자료 한국제임스조이스학회 2008 제임스조이스저널 Vol.14 No.2

“But who makes it? Who thinks it?”: Rethinking Form in Virginia Woolf’s The Waves

( Young Joo Son ) 한국제임스조이스학회 2014 제임스조이스저널 Vol.20 No.1

Challenging the age-old assumption of the division between the concept of form in Western metaphysics from Plato to Kant and the Hegelian/Marxist notion of the term, this paper argues that Woolf’s concept of form anticipates and even pushes one step further the dialectical notion of totality. A close reading of Woolf’s observations concerning form enables us to see that Woolf in fact significantly deviates from Bloomsbury art critic Clive Bell’s notion of significant form and his overall aesthetic formalism, far from incorporating his views as commonly believed. Unlike Bell’s theory Woolf puts forward an idea of form that assumes the connection between the part and the whole-not in the sense that the latter as an a priori principle determines the former, but in the sense that they are dialectically related and mutually constructive. In its resistance to a static, idealistic, or even totalistic notion of reality, Woolf’s notion of form has some affinity with what Karel Kosik terms “concrete totality.” Woolf even moves beyond the dialectical concept of totality or any other theories of form as she constantly raises a very important question of ‘who’ thinks the form. The near obsession with various forms in The Waves is a case in point. The novel illustrates how Bernard’s evocation of rings and lines, Louis’s steel rings and chains, and Rhoda’s loops and bubbles at once disclose and undermine the sense of social unification tied up with imperial sentiment by constantly inviting us to look at who, in what context, think these forms. In this way, the novel fights against the ideological ossification that frequently accompanies the concept of form and opens up a possibility to imagine a more inclusive, anti-imperialist model of self and community coming into being, not by means of telling us what to think, but by means of illustrating us how to think of form-form as reality and/or reality as form.

Bisexual Dynamics in A Portrait of the Artist as a Young Man, Chapter One

( Joseph S. O`leary ) 한국제임스조이스학회 2015 제임스조이스저널 Vol.21 No.2

Stephen Dedalus struggles at Clongowes with linguistic enigmas and sexual enigmas, which are intimately connected in potent key-words such as “suck” and “smugging.” Through a close study of the unfolding of this sexual plot in the two structurally matching Clongowes sections, this essay shows that Joyce was a clear-sighted phenomenologist of sexuality, who shed light on the psychology of the “latency period.” The interplay of linguistic and sexual enigmas would remain fundamental to his art. While the material of A Portrait, chapter one, is ordinary schoolboy experience, its self-conscious literary handling, centred on a few charged signifiers, encases this experience in highly reflexive aesthetic recreation, in which luminous form goes hand in hand with psychological penetration.

Joyce and Salinger: A Study of Their References to Buddhism

( Eishiro Ito ) 한국제임스조이스학회 2015 제임스조이스저널 Vol.21 No.2

This paper intends to compare James Joyce with J. D. Salinger focusing on their references to Oriental religions, particularly Buddhism in their works. Needless to say, James Joyce was a European writer and J. D. Salinger was an American writer. They never met each other and there was almost no direct relationship in which one influenced the other. However, the two writers had Irish Catholic connections while they were familiar with Judaism. Both felt a sense of not belonging to the church (or synagogue) and approached (Zen) Buddhism and Hinduism. They did not regard Buddhism as a religion: Joyce thought it as “a suave philosophy” to avoid wars and conflicts, and Salinger found a similarity between the act of writing and Zen practice on the quest for enlightenment. In short, Salinger tried to describe “the sound of one-hand clapping” or the sudden enlightenment in Zen [Chan] Buddhism, or in Joyce`s term, the moment of “epiphany.” Asian readers should attempt to analyze English literature from various Asian perspectives. Then we will find a significance of studying English literature in East Asia, and will be able to contribute to develop it glocally.

The Theme of “Home-coming” in Ulysses and One Day of a Novelist, Mr. Gubo

( Youngshim Lee ) 한국제임스조이스학회 2015 제임스조이스저널 Vol.21 No.2

The starting place of James Joyce`s Ulysses and Pak Tae-won`s One Day of a Novelist, Mr. Gubo is the same: the main character`s home. The principal events of the two texts are also indistinguishable: leaving home, wandering streets of the colonial metropolitan city, and returning home. This article scrutinized the diverse denotations regarding the common theme of “homecoming” in the two texts: the ambivalent meanings of “home,” the equivocal implications of main character`s wandering in the streets, and the various significances of home-coming in the two texts. As the starting places of the two texts, their home has positive as well as negative meanings. First, both men`s home is not only represented as the primordial place for satisfying their intrinsic desires but also it is the place for the most special two women: Bloom`s wife Molly and Gubo`s mother. However, their home triggers psychological pressure for Bloom and Gubo, who want absolute freedom as an independent individual. Meanwhile, two main character`s prowling in the streets of modernistic colonial city Dublin or Gyeongseong had equivocal denotations, too. Both men feel not only a sense of freedom to pursue an adventure there and to observe continuously ensuing things of the streets, but also a sense of alienation as an outsider in the society. Ultimately, Bloom or Gubo returned to each one`s home, which indicates that two men would make efforts to be reconciled with each one`s partner even though there are significant obstacles such as Molly`s infidelity or the conflicting outlook on life of Gubo`s mother. However, because of one day time setting of the two texts, the main character`s reconciliation with their partner can be not a fixed but a temporary one. Also, the theme of homecoming emphasizes on the importance of the everydayness in the modern world.

Reading Polyphony in “A Mother”

( Cheol Soo Kim ) 한국제임스조이스학회 2015 제임스조이스저널 Vol.21 No.2

This paper aims to re-read “A Mother,” one of the short stories in James Joyce`s Dubliners, with reference to Mikhail Bakhtin`s concept of ‘polyphony,’ and to trace the way in which Joyce, as a polyphonic author, orchestrates the discourses disclosing a paralysis of the cultural society of Dublin. Bakhtin`s concept of ‘polyphony’ punctuates the presence of the author`s voice in the feuding discourses within the text. Such polyphonic novels are characterized by diverse forms of cognizance and voices unfettered by an authoritative writer. Instead of governing the story by personal impulsion, the polyphonic author functions as an organizer of “a unity as a higher order.” The story of “A Mother” is subsumed of voices vindicating individualized ideals and validities. Such examples include the mother, regarded as “the most pathetic example of a woman trying to break into a male-dominated power structure,” a national movement organization that failed in its crusade to promote propaganda due to a peremptory demand of the egocentric mother, and an author disparaging the affairs in his ‘home country.’ As an amalgamate web of conflicting voices, neither right nor wrong, this story may be prized as an archetype of Bakhtinian polyphony, whose author, functioning as a single voice, advocates unity as a higher order.