흑색 글쓰기와 불온한 경계들의 균열: 아파르트헤이트와 루이스 응코시의 『짝짓는 새들』

하상복 명지대학교(서울캠퍼스) 인문과학연구소 2015 인문과학연구논총 Vol.36 No.3

Lewis Nkosi’s novel Mating Birds is a highly controversial work, particularly as it deals with the rape of a white woman by a black man in Apartheid South Africa. The novel has garnered not quite as much attention at home or abroad as it might have, due to the academy’s focus on white writers such as Nadine Gordimer and J. M. Coetzee. This paper makes use of Frantz Fanon’s theories in examining Nkosi’s Mating Birds in the context of the hegemony of white writing in South Africa, and the need to understand black literature as properly complementary to white work. In so doing, it attempts to obtain a clear and undistorted picture of the South African literary world. First, the paper investigates how racial Manichaeism works and how it constitutes the novel’s the morbid world. Specifically, it shows how white men drive Sibiya toward destruction, reducing “the Negro” to the genitals and just generally practicing the Negrophobia that Fanon had identified in his work. Second, this paper seeks to find, through analyses of several key characters including Sibiya and his mother, the answer to Fanon’s question, “What does the black man want?” in order to explain the internalization of both the black inferiority and the white oppressor’s superiority. The paper concludes by showing how Sibiya comes to realize the extent of South Africa’s racial problems and how he causes a crack in the racial boundaries that had been erected by the Apartheid regime in order to separate and rule “the colored.” Overall, the present work seeks to grasp Sibiya’s change of perspective (which occurs while working on a memoir and testifying in court) in framing Sibiya’s speaking and writing as an act of resistance and confirming, thereby, the significant import of black South African writings.

아체베의 경고와 예견―「더 이상 평안은 없다」 와 포스트식민 국가의 불안한 미래

하상복 부산대학교 한국민족문화연구소 2009 로컬리티 인문학 Vol.0 No.19

새로운 주체의 가능성 : 포스트휴머니즘과 윌리엄 깁슨의『뉴로맨서』를 중심으로

하상복 새한영어영문학회 2007 새한영어영문학 Vol.49 No.4

This article is an attempt to study the idea of the subject suitable for the digital, cybernetic and genetic age through the discussion about the subject in posthumanism and William Gibson's Neuromancer. In the technophile and technophobic perspectives in posthumanism, there are many opinions about the subject constituted within the distorted framework of liberal humanism. So the perspectives work as a limit to the constitution of the new subject, for liberal humanism has played an important part in causing the subject's present painful problems. These perspectives also help to accelerate the circumstances that the subject is fully controlled and subordinated in the dominant scientific and technological order ruled by the logic of capitalism. The perspectives are revealed in Neuromancer. Most of characters including the hero, Case, follow the paradigm which regards the human subject as an informational-material entity, estimate other subjects and objects by it. The paradigm that they accepted naturally is the typical one in posthumanism which has been discussed within the distorted framework of liberal humanism, and make them caught in the perverted dominant technological order. They also adapt themselves for the circumstances that everything is controlled by the advanced technology linked with the logic of capital. In this regards, they can not become the desirable and new subject suitable for the advanced technological age. Therefore, to globe for the possible ways to constitute the new subject, this paper proposes that the subject should know the logic of liberal humanist mechanism and paradigm which is projected into the posthumanism. It also proposes that the subject should not follow blindly the logic of capital, and should reflect dominant technological conditions made by the logic.

대타자의 붕괴와 탈근대 주체 : 슬라보예 지젝의 이론과 돈 드릴로의 『마오 2』를 중심으로

하상복 새한영어영문학회 2006 새한영어영문학 Vol.48 No.4

The purpose of this paper is to study the disintegration of the big Other and the subject in the postmodem epoch through reading Slavoj Zˇizˇek's theory and Don DeLillo's novel, Mao Ⅱ. Each chapter examines Zˇizˇek's psychoanalytic approach on the disintegration of the big Other and the postmodern subject and analyzes the characters and details of Mao Ⅱ which relate to Zˇizˇek's discussions. Chapter Ⅱ explains the conditions which lead to the disintegration of the big Other, and the new anxieties and the passionate attachment to subjection of the postmodern subject. In Chapter Ⅲ, the paper shows that the structure itself of the Symbolic Order causes the disintegration of the big Other. Chapter Ⅳ analyzes the postmodern subject as the cynical, the perversive and the narcissistic subject in whom Zˇizˇek's catches hold of dangerousness. In Chapter Ⅴ. the paper discusses the way to suspend the conditions which make the postmodern subject caught in the vicious cycle which is driven into the frenetic attachment to subjection after the disintegration of the big Other. The way out that is grasped in Zˇizˇek's theory is by means of the act, which means the rejection of the existing Symbolic by the subject. Therefore, to resolve the subjective predicaments, the postmodern subject needs to reject the conditions of postmodern epoch, that is, capitalism.

포스트모던 소설의 역사 재현 : 독토로우의 『래그타임』을 중심으로

하상복 새한영어영문학회 2001 새한영어영문학 Vol.43 No.2

This paper aims to examine the restoration of true historical consciousness and the historical representation in the postmodern period in relation to E. L. Doctorow's novel, Ragtime. Doctorow insists that "there is no fiction or nonfiction as we commonly understand the distinction: there is only narrative," because realities are something that we invent and construct. For him history is itself an invention highly interpreted by 'the power of the regime.' Doctorow doubts historical realities represented in authoritative historical texts, and foregrounds oppressed historical facts in his novels. In Ragtime, Doctorow depicts historical facts in the Progressive era (1900-1919). The facts in this novel are interweaved with fictional characters belonging to a WASP family, a Jewish family and a black family rather than historical characters. They serve as the author's means for illuminating historical facts which are suppressed and excluded by dominant forces: class, gender, race, immigration and labor. To restore oppressed historical facts and subvert authoritative historical writing, Doctorow chooses several postmodern strategies which use and misuse authoritative realistic strategies. Through these strategies, Doctorow tries to shake the self-satisfied American mind-set and tell Americans to be awakened from false historical consciousness.

프론티어 이상주의의 허구성 폭로 : 하드 타임즈에 잘 오셨습니다 E. L. Doctorow's Welcome to Hard Times

하상복 부산대학교 인문학연구소 2001 人文論叢 Vol.57 No.-

Frontier historians like Frederick Jackson Tuner insisted that frontier history was the most fundamental element in forming the characteristics of America such as democracy, individualism, and pragmatism. They also said frontier gave Americans expansion, chance, hope and richness. These ideas have been American myth which has governed American life and influenced on areas of politics, culture and literature in American until now. So, in Welcome to Hard Times Doctorow debunks frontier myth for restoring true historical consciousness. Through the destruction and reconstruction of fictive community called Hard Times, he reveals the West isn't the land which gives settlers hope and prosperity, asserting that only capitalist logic acts as governing in the process of settlement. In this novel Doctorow also examines the problems of accurately representing the past. Through Blue, narrator and protagonist, he explains that the difficulty of representing the past results from Blue's false belief, that is, the idealism of frontier which governs his writing. Finally, Doctorow aims to restore reader's historical consciousness by undercutting the false frontier history which is, he insists, ideologically constructed and interpreted by 'the power of the regime'.

모호하거나 충돌하는 마우마우의 재현: 응구기의 『아이야, 울지 마라』와 음왕기의 『백인 소년』

하상복 동국대학교 영어권문화연구소 2018 영어권문화연구 Vol.11 No.3

Mau Mau uprising against British colonial rule has been represented by many writers with different standpoints. The leading writer is Ngũgĩ wa Thiong’o who has told Mau Mau’s stories in almost every work and has critically explained the realities and problems of the colonial and the post-colonial regime through the stories. Another Mau Mau writer is Meja Mwangi who called the next Ngũgĩ and has recently come into focus in the Kenyan literary world. This paper firstly reviews and compares Ngũgĩ’s Weep Not, Child and Mwangi’s The Mzungu Boy to check how their representations of Mau Mau are accurate. Through the review and comparison, this paper also shows what particular tendencies are noticed in Mwangi’s novel and how it is different from Ngũgĩ’s novel. And then analyzing the vague or conflicting representations of Mau Mau in their novels, the paper examines both positive and negative sides, and confirms what perspectives are necessary to estimate justly Mau Mau rising.

대통령 직선제 개헌론과 의제형성의 동학 : 1985년 2 · 12 총선거를 중심으로

하상복 한양대학교 한국학연구소 2007 韓國學論集 Vol.41 No.-

닥터로우의 갱스터 소설 『빌리 배스게이트』와 미국 자본주의 비판

하상복 새한영어영문학회 2004 새한영어영문학 Vol.46 No.1

Doctorow has examined and rewritten the American past in his novels in order to restore historical truth, for he thinks that the "official" history itself is the fictive records highly interpreted by authoritive power and then we examine and question the established history constantly to turn fictive history back into true one. In Billy Bathgate, Doctorow also tries to find the historical truth by merging real-life and fictional characters and reconstructing historical facts related to the gangsterdom in the 1930s. He also uses the gangster novel-called a 'disreputable genre'-to undercut our trust in the gangster myth which has been regarded as true history and has appealed to Americans. Through his experiences in the Dutch gang and the upper-class society, Billy criticizes the greed for money and cruelty in the gasterdom, and the self-indulgence and decline of the upper classes. Despite of his criticism, Billy tries to get mean money to satisfy his desire for wealth and success. Billy also perceives that America has the potential of crime and is the great circles of gangsterdom. Therefore, this novel shows that Doctorow reveals that constructed and mythicized gang's history hides the greed for money, the desire for power and class inequality corresponding the qualities of American capitalism. It also shows Doctorow's critique on capitalism in 1980s, given that he insists the greed for money and class inequality thrive in the 1980s as well as in the 1930s by the policies of Reagan government and the capitalist logic in America.

미국 다인종 문학 텍스트 다시 읽기 : N. 스캇 마마데이의 『새벽으로 지은 집』을 중심으로

하상복 새한영어영문학회 2010 새한영어영문학회 학술발표회 논문집 Vol.2010 No.5