원주민 이야기꾼의 책임감: 조이 하조의 동화책 두 권을 중심으로

이승례 ( Seung Rae Lee ) 충남대학교 인문과학연구소 2012 인문학연구 Vol.39 No.1

본 연구는 조이 하조의 두 권의 동화책이 공통적으로 원주민 전통을 보존하고 전달하는 이야기꾼으로서의 책임감을 실천하고 있음을 논의한다. 하조는 백인의 문화 속에서 "딕과 제인의 시리즈"를 교과서로 배우며 자라난 원주민 후손 세대들에 대해 우려를 표명한다. 그들이 스스로의 이야기를 상상하고 창조하기를 바라는 마음으로 동화로 발간한다. 첫째, 『행운의 고양이』는 생존의 이야기를 다룬 동화집이다. 하조는 원주민의 놀라운 생존의 역사를 후손들에게 내러티브의 형식을 통해 생생하게 전달한다. 이 작품의 주인공인 도시 고양이 우기의 "아홉 개의 목숨"은 원주민 전통의 세계관과 미학을 구체화한다. 두 번째, 『소녀되기』는 성장의 이야기를 원주민 전통의 제식적 시로 그려낸 동화집이다. 할머니이자 이야기꾼으로서 작가는 미래의 세대들이 가족과 공동체 속에서 아름답고 강한 여성으로 성장하는 여정을 축복하고 그 지침을 전달한다. 본 논문은 원주민 여성작가 하조가 두 권의 동화를 통해 조상으로부터 미래세대까지 이어지는 연속성의 가치를 창조하는 원주민 이야기꾼으로서의 역할을 수행한다는 점에 초점을 두었다. A Native Storyteller`s Responsibility: with Joy Harjo`s Two Children`s Books as the Center Lee, Seung-rae This study brings out the fact that Joy Harjo`s two children`s books are playing roles as a storyteller preserving the native traditions and conveying them. Harjo expresses her concern about the descendant generations having grown under the dominant cultural education by the text book "Dick and Jane series". The children`s books were published by Harjo`s desire for them to imagine a story of themselves and create it. The Good Luck Cat is dealing with survival. Harjo explains their history to the descendant generation by storytelling. The main character is Woogie, whose "nine lives" gives a shape to the world view of the native traditions and their aesthetics. The second book For a Girl Becoming treats growth. The author, who is a grandmother as well as a storyteller, blesses the next generation`s growth to be beautiful and strong woman in their family and community and she also conveys the protocol. Harjo, as a storyteller, creates the value of continuity from ancestry to posterity.

몸이라는 조국: 치카나 시각예술에 나타난 퀴어 세계-만들기의 미학

이승례 ( Lee Seung Rae ) 대한영어영문학회 2021 영어영문학연구 Vol.47 No.1

The embodied aesthetics of radical Chicana visual artists Alma Lopez and Laura Aguilar disturbs the monotonic narratives of Manifest Destiny and Aztlan and realizes Queer Worldmaking, emphasizing the body of the queer Chicana as the place of origin and true homeland. Alma Lopez creates subversive portraits of Millennium Lesbian Guadalupe while visually conversing with the work of Chicana artists' rebellious disidentification for Guadalupe, the immortal Goddess of the Chicana. Furthermore, while building the borderland between Mexico and the United States as a utopia of love and desire of the Chicana Lesbian, she moves toward dynamic border art and Queer Aztlan. Laura Aguilar depicts a dilemmatic portrait of a Chicana artist caught between dual cultures, seeking a harmonious community in the city’s working-class lesbian bar. In particular, the late self-portrait series, which was completed in a natural environment in the southwestern United States, builds a poetic utopia of lesbian mestiza separated from colonial landscapes through self-ecologies in which the earth and the body are united, and a relational self in which the body and the body are not separated. (Hannam University)

네판틀러라로 살아가다: 산드라 시스네로스의 시

이승례 ( Lee Seung-rae ) 한국현대영어영문학회 2017 현대영어영문학 Vol.61 No.1

This paper explores the approach to life of the Nepantlera appearing in the poetry of Sandra Cisneros. According to Chicana cultural theorist Gloria Anzaldua, Nepantla literature represents the new geography of contemporary American literature. Nepantla, from the Nahuatl word meaning in the middle, describes a mode of in-betweenness, a spanning of multi-layered cultures, and it is the fluid synergy between these layers which forms the aesthetic of Nepantla literature. Nepantlera are global citizens of the new world. The paper first explores the Nepantlera`s identity in the poetry of Sandra Cisneros as descendants of artistic guerrillas living according to their own internal values, outside the norms set by the dominant culture. As urban guerrillas, they call into question the notion of the obedient woman propounded in patriarchal societies and champion their dreams for a changed life. Second, their approach to life and love is compared to a solitary tango dance, which oversteps the rules of patriarchal marriage in pursuit of full narcissism and Nepantlism. Finally, the modern Chicana are likened to witches, living a life which simultaneously encompasses both myth and reality. They negotiate the haunted perceptions of the two extremes as they co-operate with the marginalized in the name of sisterhood. (Hannam University)

레슬리 마몬 실코의 『의식』에 나타난 생태여성주의적 글쓰기

이승례(Seung-rae Lee),최동오(Dong-oh Choi) 문학과 환경학회 2008 문학과 환경 Vol.7 No.1

The purpose of this study is to analyze the literary style in Leslie Marmon Silko's Ceremony from an ecofeminist point of view. Silko's writing has three characteristics. The first one is intense sense expression. Ceremony is filled with the sense of sight, the sense of hearing, the sense of smell, the sense of taste, and the sense of touch. Various synesthesia images form a close sympathy with nature. The second characteristic is Silko's use of plant images that engenders a unique sensibility. This sensibility can't be separated from femininity. Night Swan and Ts'eh are symbolized as trees, and each is shown in blue and yellow. These female characters contribute to every step of mental growth of Tayo. The last one is Silko's emphasis of spirituality. It is not philosophical idealism, but feminine principal completed by Night swan and T'seh. The lineage of the goddess from Spider Woman to Night Swan and Ts'eh is described as a spiritual resistance to the violence of the male-centered world. Silko's Ceremony centers on sense, sensibility, and spirituality which are neglected in realistic literature. Ceremony is written in a style that various images and symbols are crossing and it forms the mysterious whole body. So it is similar to the quilt which is made from the cloth. Language in Ceremony is a sensual body language, plant language which echoes the universe and spiritual language which is filled with magic.

퀴어(Queer), 원주민, 에로스

이승례(Lee, Seung-rae) 문학과환경학회 2016 문학과 환경 Vol.15 No.1

본 논문의 목적은 원주민 여성시인 크리스토스의 시를 통해 퀴어와 생태의식의 유기적 관계를 고찰하는 것이다. 크리스토스의 시편은 퀴어/유색/여성/자연의 동시적 해방을 추구하며 퀴어 에코페미니즘의 정치학을 실현한다. 퀴어 에코페미니즘으로 읽는 본고의 세부적 논점은 크게 세 가지로 설명될 수 있다. 첫째, 크리스토스는 자연과 레즈비언의 관계를 에로스적으로 연합된 동반자 관계로 설정함으로써 퀴어가 자연을 거스르는 질병이라는 동성애 혐오 사회에 도전한다. 레즈비언 연인과 자연은 선명하고 감각적인 미학적 풍경을 건설한다. 둘째, 레즈비언 섹슈얼리티는 백인/서구/남성에게 짓밟힌 원주민-레즈비언 여성의 육체를 해방하는 동력이다. 크리스토스의 시에서 레즈비언 연인들은 가장 깊은 치유의 경험인 에로스를 통해 서로의 존재에 대한 우주적 의미를 깨닫는다. 셋째 레즈비언 공동체의 윤리적 모형은 연민과 존경에 근거한 수평적 원의 관계를 추구한다. 이는 개인과 공동체가 분리되지 않는 원주민 문화의 정체성과 연결되어 있다. 크리스토스 시에 나타난 레즈비언-원주민 공동체의 윤리적 비전은 위계질서의 자기중심성을 해체하는 생태적 존재방식을 설명한다. This paper will apply insights from the discourse of queer ecofeminism to the issue of homosexual persecution, highlighting its shared contextual roots with the devaluation of women and nature. Three major issues will be examined. Firstly, by establishing that the relationship between lesbians and the natural environment is one bound by erotic collaboration, Chrystos issues a challenge to homophobic society. Lesbian lovers partner with nature to build an aesthetic landscape, which is clear and sensuous. Second, lesbian sexuality is seen as the liberator of the female body, downtrodden as it has been by the white, western male. The true power of eros is in its impartation of spirituality, a spirituality which resonates with the universe, through an experience at the deepest level of being. Third, ethical models of lesbian community can be viewed as a relationship on a horizontal circle between compassion and respect. This is linked to the lack of separation between the individual and the community which exists within Native American cultures. The sense of the self in Lesbian-Native American literature points the way towards an ecological way of being which directly counteracts the self-centredness of hierarchical society.

치카나적 신성과의 만남: 아나 카스틸로의 시

이승례 ( Lee Seung-rae ) 한국현대영어영문학회 2018 현대영어영문학 Vol.62 No.2

This paper discusses the sacredness of the poem of the Mexican-American, a Chicana writer, Ana Castillo. Chicana's identity is inseparable from spirituality. Spirituality is an absolute life guideline that answers the orphanhood wandering between their biological parents, Mexico and their adoptive parents, America. Castillo embodies the loose matriarchy, Xicanisma of healing and regeneration in the pride for the Aboriginal pedigree. In the mythical space of Chicana feminism, Coatlicue is Goddess of serpent symbolizing vitality. In the poem of Castillo, Coatlicue links to the Virgin of Guadalupe, the immortal mother of Chicana along with the Goddness of the Earth, Tonantzin. Finally, Guadalupe, embodied as a working woman living a modern life who takes off the transcendent divinity of Mother of the God, is the final version of the Chicana sacredness depicted by Castillo. (Chungnam National University)

레슬리 마몬 실코의 「노란 여인」: 미국 원주민 여신의 현대적 화신

이승례 ( Seung Rae Lee ) 충남대학교 인문과학연구소 2013 인문학연구 Vol.44 No.2

본 연구는 미국 혼혈 원주민 여성작가 레슬리 마몬 실코의 단편 소설인 「노란 여인」을 미국 원주민 여신의 현대적 화신이라는 관점에서 살펴본다. 이작품이 수록된 『이야기꾼』은 실코가 속해있는 프에블로 부족의 전통신화, 작가의 사족사, 부족의 역사, 창작시와 단편소설, 가족사진 등이 유기 적으로 결합된 자전적 이야기 책이다. 노란 여인은 프에블로족의 전통신화에서 부족을 구원하는 여성 영웅이며, 정신적 여신이다. 실코는 노란 여인으ㄹ 현대적 여신으로 재현하는 과정을 통해 전통과 현대, 신화와 현실이 삶의 진실로 통합하는 과정을 그려내고 있다. 본문에서는 여성 주인공이 신화의 노란 여인이 되는 여정과 자서전 문학의 연결점에 대해 논의한다. 원주민 소설에서 자아는 부족 공동체의 신념과 분리되지 않는 유동적이고 다층적인 존재이다. 이어서 노란 여인이 현실과 신화의 경계선이라는 영적 지형도를 그리고 있음을 살펴본다. 현실과 신화가 충돌하고 융화되는 지점은 원주민 문학의 독특한 시간관을 설명한다. 결론적으로 실코의 여성주의적 신념이 웅축된 노란 여인의 상징성에 대해 논의한다. 실코의 작품에서 노란 여인은 여성의 강인한 힘과 신성의 창조적인 화신이다. Leslie Marmon Silko`s “Yellow Woman” is a short story form Storyteller, published in 1981. The book can be read as an autobiography that comes to us in the form of short stories, narrative poetry, lyric poetry, memoirs and photographs. A strong sense of community forms the backdrop for her writing, noto which she weaves the diverse issues of identity, boundary, and spirituality. Yellow Woman is connected to six of the pieces in Storyteller. She is not only the heroine of the old Pueblo tales, but in Silko`s writing, she also becomes the embodiment of feminism. Through a close analysis of “Yellow Woman”, this paper examines the modern incarnation of the native American Goddess. Yellow Woman of the old Pueblo tales is both heroic and sensual, protecting the Pueblos with her heroism and her sexuality, which is itself a representation of the life of nature. In Silko`s story, “Yellow Woman” the mythic figure of a transgressive wife is rendred in a more modern way, no longer being confined to a single identity. Yellow Woman crosses the boundaries between truth and fiction, history and myth, past and present, The power of this story lies in its unique blending together of the traditional and the modern. Silko attempts to embody the Goddess` creative power within a modern setting. “Yellow Woman” is a story about how the traditional and the modern can unite into a living reality.

마가렛 앳우드의 『시녀이야기』에 나타난 생태적 상상력

이승례(Lee Seung-Rae) 문학과 환경학회 2010 문학과 환경 Vol.9 No.1

The Handmaid's Tale by Margaret Atwood is a novel about a virtual republic called Gilead, which is built and completed by Christian fundamentalists. Gilead is an utterly dystopian space where people are imprisoned and oppressed in the name of religion. The reason for the author to press hard in this novel the anti-utopian situations to an extreme against humanism is to suggest a true utopian value in the end. In this work, there is a utopian space that exists along with dystopian situations or exists independently. This world is implied in the images of the flower and the garden, and it is tinted with the color red. The flower which appears at regular intervals in this fiction is closely connected to Offred's sexuality. The erotic connection between the flower and the woman's body is a core element in the garden and the vegetal imagination. In this novel, a fundamental difference also arises between utopia and dystopia. Moisture and warmth are not only the basic conditions for creation of life they are also essential substances for utopia. This study, therefore, is an attempt to search for a place where the utopia is connected with vegetability and sexuality.