개별 경험의 역사성: 『마지막 여정』의 평범한 서사가 드러내는 보편정서

류춘희 ( Chun Hee Rhew ) 한국현대영미소설학회 2009 현대영미소설 Vol.16 No.1

심리적으로 소멸된 시간: 퀜틴의 분열서사와 그의 죽음

류춘희 ( Chunhee Rhew ) 한국현대영미소설학회 2018 현대영미소설 Vol.25 No.2

This paper, paying attention to Quentin’s narrative of the second chapter of William Faulkner’s The Sound and the Fury, observes dissipated time that reveals several de-constructive aspects and eventually calls for Quentin's suicide. This outstanding Modernist novel adopts its typical narrative technique of ‘stream of consciousness’, but it depicts considerably de-constructive facets in which time and gender identity of Quentin were disrupted. Quentin’s psychological complication to efface time leads to his death as a kind of compromise with his emotional deadlock. Quentin, who has cherished the pre-modern idealism of the South and been obsessed with memories of his sister Caddy, does not harmoniously cope with modernistic changes and only tries to adhere to the antebellum morals. Quentin’s wavering self-consciousness potentially caused from his subconsciously incestuous desire for Caddy dissolves time and space already mutually inter-fused, not clearly defining the boundary between the real and the fictitious as well as the past and the present. Quentin's fragmented consciousness and confused gender identity, along with the collapsed traditional values, results in his death relocating himself in the moment/spot without time. Death, one of the epistemological themes of Modernism, functions here as an escape for Quentin from his struggles over time and silences his anachronistic perception of time and space.

『암흑의 핵심』에 대한 탈식민주의 시각 읽기: 말로우와 콘라드

류춘희 ( Chun Hee Rhew ) 한국현대영미소설학회 2008 현대영미소설 Vol.15 No.1

서술과 창안의 역사적 상상력

류춘희(Chunhee Rhew) 한국비평이론학회 2009 비평과이론 Vol.14 No.2

The boundaries of learning have been blurred and every branch of knowledge extends its limit into one another. It is agreed that no alienated study with uniquely authentic authority exists in the world. It seems natural for 'written history' and 'literature' to frequent each other's boundary because both are based on language, which constructs discourse or story with rhetorical devices. This paper, in the literary eyes, observes the process through which the history as story-telling has accepted and affirmed its innate literariness, viewing the historical perceptions from Ranke to White. The argument of this paper is that the unavoidable reciprocity which exists between historical imagination and literary inventiveness makes history and literature intercommunicate with each other. History first refers to both past happenings and the [rigorous and impartial] recording of them, and it is also related with the study of them. The past happenings are, in other words, the human experiences of the transitional process on the social level as well as on the individual. Historians, who had stuck to 'the objectivity and the scientific positivity' of history for ages, became conscious of the illusion to which they adhered and of the 'linguistic and subjective' fearures in historical writing, so have recognised and embraced the innate literariness in history. Through the period of poststructuralism, deconstructive language contributed to revealing the artificialness of history, and postmodern historians such as Hayden White and Dominick LaCapra have declared the fictiveness and the literariness in historical writings. By considering simultaneously both on the reciprocal constructiveness and on the fundamental separateness between history and literature, one would reach the rationalization about the interdependent supplementation of both. While history is for revealing facts, the fictional discourse of literature would rather unveil the hidden truth behind the facts, since the historical truth can be different from the revealed fact. Accordingly, the history and the literature, keeping based on each position, can share the burden of telling the truth of the past.

동기간 근친상간-죄악인가, 사랑의 변용인가: 존 포드의 『안타깝게도 그녀가 화냥년이라니』를 중심으로

류춘희 ( Chun Hee Rhew ) 한국현대영어영문학회 2010 현대영어영문학 Vol.54 No.3

Love narrative originates with humankind. Incest narrative exists behind, which perverse offense or transformed love assuming disfigured, though banal but fervent as much as love itself. This paper examines incest, particularly sibling incest, focusing on John Ford`s play ``Tis Pity She`s a Whore and comments on two other figures assumed sibling incest in Manfred and The Sound and the Fury. Incest has generally denoted sexual activity between persons prohibited due to specified kinship relations. Incest taboo has been an example of a universal aspect of human culture, but on which perspectives varied from cultures have been relative and arbitrary. Sibling incest, which is prevalent compared to other types of incest, has been regarded as both normal and acceptable by persons directly/voluntarily involved, even though it has been considered reverse in the norms and the values of the wider society of which they were a part. Ford sees sibling incest as some emotional state, signalling his interest in exploring the relativity of even apparently absolute moral standards. Giovanni is just Ford`s inspired explorer in a morally muddy ``normal`` world. Giovanni, who loves his own sister, constantly insists that proximity of blood is the best reason for his love. Annabella, whose language is full of repentant words, does not regret for the love itself like her brother. Byron`s protagonist Manfred and Faulkner`s Quentin assume similar attitudes. For all of them, incestuous love is an irresistibly absolute fate, and natural providence in a sense. Their love goes beyond conventional morals of society. The brothers and the sisters are too ``near`` not to love, but also too ``near`` to love successfully. Most commentators agree that sibling incest is not inevitably evil in itself, but evil by proscription, different from other types of incest. It can be said of a throw-in of the ascent-descendant incest. (Busan University)

언제나 마무리되는 이야기, 끝나지 않는 역사: Ever After

류춘희 ( Chun Hee Rhew ) 한국현대영미소설학회 2015 현대영미소설 Vol.22 No.2

In last century Britain, there were plenty of historically self-conscious novels that bore the unavoidable reciprocity between historical imagination and literary inventiveness, making history and literature intercommunicate. They asserted that both historiography and fiction as narratives were human constructs, and narrative artificiality in historiography led history to the fictional rather than to the factual. They believe the novel becomes not only passively imprinted upon history, but also one of the ways which [re]makes and [re]writes history. Two directions can be noticed about these novels. One is an aggressive challenge against or an active intervention in historiography, which subverts and replaces conventional history through using historiographic terms. The other finally retrieves the position of literature after insisting on history as story-telling, simultaneously fore-grounding literariness as much as historicity in it. Graham Swift’s Ever After excellently illustrates the process of the latter, showing that ever-ending stories make never-ending history. Swift considers the narrative history as story-telling, yet remembering his position as literary story-teller, and insidiously provokes historiography to self-reflect. He seems to retain his instinctive esteem for traditional history without radical/visible division of historiography and fiction, embracing common features of both as narrative story-telling. This paper explores Swift``s return to literature after the deepest contemplation of history and historiography in Ever After.

허구의 렌즈로 투영된 전기/역사쓰기의 진정성: 반즈의 경우

류춘희 ( Chunhee Rhew ) 한국현대영미소설학회 2017 현대영미소설 Vol.24 No.2

This paper observes the authenticity of fictive bio/historiography through Julian Barnes`s two novels, Flaubert`s Parrot and A History of the World in 10 1/2 Chapters. It focuses on how/why literature `writes and preserves` history, contemplating if literary historiography can convey the truths inside historical facts. The two novels, presenting themselves with conventional referents of historical writing such as biography and history, seriously intervene in historiography. In the protagonist`s pursuit of a dead author and his stuffed bird, Flaubert`s Parrot offers different―completely opposite at times―aspects of historical reality by using real names of people, places, and events that are historically verifiable. A History of the World in 10 1/2 Chapters reveals a variety of voices hidden in history as petits recits, demonstrating diversity and mixed heterogeneity in historiography with various deconstructive documents. Barnes`s historically self-conscious writing, deeply metafictional and self-reflexive, rearranges historical contexts and makes an issue of the entire notion of historical knowledge, underlining love on their basis. Barnes`s text, seemingly half-fiction and half-historiography, tries to embrace all the possibilities in history, crossing the line between facts and truths by means of dialectical communication among love, truth, and history. Most of all, Barnes sees love as the healing power working on history.

영국성과 역사에 대한 사색

류춘희(Rhew, Chunhee) 새한영어영문학회 2017 새한영어영문학 Vol.59 No.2

Followed by global consideration and in-/external argument, the UK declared that she would cease to be a part of the EU after 43 years as a self-recognised European country. This paper reads Graham Swift’s Waterland, which conveys English historical contemplation, to gain contextual clues for understanding of the current situation-Brexit-not with the intention of defining it. Swift is a member of the after-war generation and embodies ‘genuine Englishness’ as an ‘Anglo-English’ writer. His novel Waterland represents historically retrospective Britain of the 1980s and contemplates interrelation between History and Literature. The English give emphasis to historically great ‘values’ linked to the continuity, and the past that Waterland possesses underlines the historical continuity to the present. In Waterland, the past is hovered over and highlighted through Tom’s English historical perception, partly nostalgic redirection to Englishness. Swift’s narrative manifests the need of renegotiation of the sense of continuity and offers ‘telling stories’ to enlighten his people through self-reflexive and historiographical anatomy. The reason I re-read Waterland on the threshold of Brexit is that it tells stories of the [English]past from Tom Crick, a synecdoche of the modern ‘English’, that is, an embodiment of individual Englishness, with its glory and ugliness behind the historical pride. Brexit seems to express one of the ways for pursuing the past, and on its base lies the Englishness. The Englishness covers isolationism, choleric complacence, scepticism, cynicism, and so on. In a sense, the sloshiness of ‘waterland’ in the text seems like a part of the inescapable English identity.

역사적 성찰의 문학: 진실에 다가서는 상상력 -『혹스무어』의 공간화한 시간

류춘희 ( Chun Hee Rhew ) 한국현대영미소설학회 2012 현대영미소설 Vol.19 No.1

This paper deals with Hawksmoor, which is one of historically self-conscious novels, so to speak, ``historiographic metafiction`` of 1980s in Britain. The author Peter Ackroyd, who has been also a well-known biographer, does not separate historical consciousness from literature and thinks that there is no real difference among biography, history and fiction. Ackroyd is obsessively fascinated with historical events and processes of the distant and more recent past, but in doing so, he uses not only multiple post-modern techniques but also very realistic narrative methods of the conventional British fiction. In Hawksmoor, Ackroyd invents two characters-Nicholas Dyer and Nicholas Hawksmoor-from Nicholas Hawksmoor of historical figure. Based on the real existed man and his architectures in history, the novel has a double plot composed of a series of parallel eighteenth- and twentieth-century murders narrated in double languages of two periods. It shows that the different time and space fuse into one and fiction infiltrates into the uncertainty of historical facts. Hawksmoor presents a spatialised view of history, which lets historical perception escape from the linear time. In such a view, everything has already happened and simultaneously is yet to come so that it may be repeated in the future like the haunting reenactment of the past. It obscures the distinctions between past and present that conventional history claims. Through the exquisitely historical impersonation represented by the narrative with the past language, Hawksmoor tries to decentre contemporary sensibilities, reserve itself to estranging, and enlarge mutation of narrative form and language. At the same time, contemporary readers both experience eviction and displacement from the text and enjoy historical language and consciousness in the novel. It makes the reader risk confirming rather than disturbing his/her historical confidence, and further restores the reader whole to his/her sense of historical belonging.

콘라드 『비밀요원』의 극화

류춘희(Chunhee Rhew) 19세기영어권문학회 2008 19세기 영어권 문학 Vol.12 No.2

Cultural theory in the twentieth-century has gained a general understanding that popular culture is also worth studying. Joseph Conrad, like his contemporary intellectuals, usually spoke contemptuously of film, saying it as “absolutely the lowest form of amusement.” Nevertheless, he has been one of the major British authors whose works have been frequently adapted to film art. Conrad's dialogue is dramatic in itself and his novel is “like a simple film with an elaborate commentary,” and so his stories are “ready-made for the cinema.” In the adaptation of Conrad, it seems to be virtually impossible to preserve the ‘ironic commentary and the chronological complexity’ which are his novels’ characteristic. To represent his plots which are typically based on an unfeasible moral dilemma is also difficult. A clue to the filming of Conrad’s novel is that how it reveals ‘the invisible, non-personified narrator’ through the camera eye, who articulates ironic comments as the proxy for the author in the text. This paper explores two film versions of The Secret Agent, along with the dramatization of Conrad himself. The Secret Agent is the first urban novel of Conrad, which shows his marginality through the characters’ alienation. Conrad was sceptical about his novel’s adaptation. He said, “To make an audience of comfortable, easy-going people sup on horrors is a hopeless enterprise.” Sabotage, adapted by Alfred Hitchcock in 1936, invokes one of the novel’s main themes: “the indeterminate nature of all action and the consequent difficulty in assigning blame.” However it failed to understand modern alienation and to penetrate revolutionary urban politics, so that it does not succeed in keeping pace with Conrad’s text. Christopher Hampton’s same titled adaptation of The Secret Agent in 1996 tried to revive the murky, muddy and phosphorescent streets of Dickensian London and to animate the imagery of the Imperial asphalt jungle. The players themselves act their roles earnestly in respect for the great author’s masterpiece, but in the film we lose Conrad’s own marginal perspective and his considerate narrative dynamic. Neither Sabotage nor The Secret Agent represents the innate marginality of this Polish immigrant writer, which is implied in the novel. The intrinsic progressiveness of Conrad’s text makes possible for different Zeitgeists to intercommunicate with each other. His words are still persuasive in the twenty-first century. If the camera eye represents the invisible narrator of Conrad’s text, the audience can listen to his words in films, and further they will see the very marginality which overwhelms the centre of English literature by blurring boundaries.