『데이빗 코퍼필드』에서의 광대들

박금희 ( Geum Hee Park ) 한국영미문화학회 2009 영미문화 Vol.9 No.1

This article aims to illuminate the comic characters and their humor in Dickens`s novel David Copperfield in Bakhtinian point, and to clarify what the humorous characteristics are, and how they contribute to his reinforcement of socially critical messages in this novel. So far this novel has been called the only one of Dickens`s comic novels, even though it includes lots of social critical meanings. But it is true that Dickensian critics couldn`t make sure of the clear reasons why it is both very interesting and critical. Furthermore, it is also true that this novel has been criticized as a clumsy one in the realistic, psycho-analytic, dramatic angle. This approach to Dickensian comic characters through Bakhtinian fool, clown, and rogue concepts here could make up for or correct such criticisms, and reevaluate Dickens`s humor and social criticisms in the context of general public culture. Bakhtin believes oppression by social ideologies prevent us from having good mutual relationships and divides our society. He thinks laughter liberates us from such oppression and restores our good relationships. As he applied his concepts based on the laughter of Middle Ages to Rabelais`s novels, and examined what the authentically liberating power in Rabelais`s laughter is, this article could clarify the liberating power of laughter by Dickens`s comic characters, such as Mr and Mrs Micawber, Dick, Miss Betsey Trotwood and Miss Mowcher. In this novel, they often lead comic happenings, and such happenings are very similar to carnival-amusements including burning the dummy of the czar who has oppressed his or her citizenry. Especially, Dickens`s comic characters`s social criticisms, in the case of this novel, contain many complaints of social marginers, even though he has been labelled as being conservative politically. They always criticize the ideological absurdities in their society through the humorous words and behaviors in their comic happenings, like those of a carnival fool or clown in his or her amusements. This shows Dickens achieves both laughter and social criticism in David Copperfield by using Rabelaisian characterization-devices based on his general public culture. Like Bakhtin and Rabelais, Dickens seems to have believed that when we all truly liberate ourselves from the oppression of social ideologies, we can have desirable relationships between ourselves, and also solve social problems positively.

바보 신부 키호테: 카니발화된 가톨릭신앙

박금희 ( Geum Hee Park ) 한국현대영어영문학회 2015 현대영어영문학 Vol.59 No.4

This essay discusses Graham Greene`s prosaics and religious, political criticism in Monsignor Quixote based on M. M. Bakhtin`s carnival theory. At first, Greene characterizes his heroes, Monsignor Quixote and ex-mayor Zancas as a comic fool and a rogue respectively by using the novelistic frame of Miguel de Cervantes`s Don Quixote in a parodic way. In this novel, Greene composes almost all the religious and political discussions as comic happenings Quixote makes with Zancas, while traveling to one after another of the Spanish historic sites. In such discussions, Zancas continues to ridicule Father Quixote, which paradoxically highlights the priest`s humble image and ends up making him a comic fool. More important is that this humility of Quixote`s makes Zancas criticize Catholicism freely, and leads to degrade or decrown not only his own authority as a Catholic priest but also the Catholic system itself to which he belongs. This degradation lets readers recognize that orthodox Catholic values are so authoritative, and rethink such values at the level of their own lived life. Consequently, multiple problems of the Catholic dogmatism and doctrinairism that have made human`s free and felt life impossible are exposed in that process. (Chosun University)

Traumatizing History and Traumatized people in Julie Otsuka’s When the Emperor was Divine

박금희 ( Geum Hee Park ) 현대영미어문학회 2018 현대영미어문학회 추계학술대회 발표논문집 Vol.2018 No.-

『에드윈 드루드의 비밀』의 그로테스크 리얼리즘

박금희(Geum Hee Park) 19세기영어권문학회 2013 19세기 영어권 문학 Vol.17 No.1

It is well-known that Charles Dickens wrote his novels to reform a variety of problems in his society. There is no exception in his last and unfinished novel, The Mystery of Edwin Drood. Here he criticizes the Anglican Church because he thought it was neglecting its duties toward its society as well as its congregation. Dickens believed many church leaders must play an import an role in their social changes, but they were satisfied just with their routines in serious mannerisms. Dickens sets this novel in the small, imaginary of Cloisterham (which means a monastery corridor),where church doctrines are absolute. He portrays the cathedral and the heroes working in or being influenced by it with Rabelaisian grotesque form, and shows how much all things in the residents" lives were being affected by the church. Through this narrative, Dickens succeeds in blocking his readers" negative response and carrying his critical massage effectively. So that his readers can enjoy reading, he characterizes Cloiterham Cathedral and the main characters by combining some imageries representing something noble, spiritual, transcendent, divine with other imageries expressing something low, animalistic or worldly. The mixture of such opposite and heterogeneous imageries results in letting his readers think about whether what they have believed is true, and recognize various problems of the Christianity and the politics they have supported without any direct and negative statements. In M. M. Bakhtin"s perspective, this narrative can be explained with the concept, "degradation," one of Rabelaisian stylistic characteristics. Also ,it enables Dickens to create grotesque and comical imageries in this novel and show how the church image is different from what his readers accept as normal. Furthermore, through parody of public culture, such as children"s plays and Christmas festivals, Dickens enhances the comicality both in characterization and narration as well as makes his readers enjoy reading. This can be explained as the Rabelaisian carnival-grotesque concept of liberation and resurrection in that it is not the criticism just for criticism.

동화 제시방법(구연 동화, 인형 동화, 극화 동화)이 유아의 동화 이해도와 이야기 구성력에 미치는 영향

박금희(Park Geum-hee),이미숙(Lee Mi-sook) 가톨릭대학교 생활과학연구소 2005 생활과학연구논집 Vol.25 No.1

The purpose of this study is to help the teachers in Early Child Education realize the importance of presentation methods of children's stories and furthermore, to provide them with data that is necessary for the appropriate selection of presentation methods of children's stories based on the children's level of development and the goal of education by examining what effects three presentation methods of children's stories have on the children's ability to understand and reconstruct the story. The subjects of this study consisted of 33 four-year-old children from B kindergarten in Inchon City, including 17 boys and 16 girls. Using Latin square design as a composite treatment, the three presentation methods of the orally narrated story, the puppet story, and the dramatized story was conducted to the 33 children and then their scores were compared. In analyzing the data, oneway ANOVA and t-test were conducted to test the mean differences among subject groups, children's sex, and the presentation methods of children's stories. The followings are the summary of the results of this study. First, among the three presentation methods of the orally narrated story, the puppet story, and the dramatized story, the dramatized story showed the highest effect on the children's ability to understand story. But, there was no significant difference in children's ability to understand the story between the presentation methods of orally narrated story and the puppet story. Second, among the three presentation methods of orally narrated story, the puppet story, and the dramatized story, the dramatized story was the most effective on the children's ability to reconstruct the story. But, there was no significant difference in children's ability to reconstruct the story between the presentation methods of orally narrated story and the puppet story. Therefore, this study concludes that there are differences in the children's ability to understand and reconstruct the story depending on the presentation methods of children's story and suggests that it is necessary to select the appropriate presentation methods of stories according to children's level of development and the goal of education.

저술하는 주인공으로서 핍-신사 개념의 해체와 재구성

박금희 ( Geum Hee Park ) 21세기영어영문학회 2015 영어영문학21 Vol.28 No.2

This paper attempted to regard Pip Pirrip as an authoring hero and look at what his prominent characteristics are at first, and then, how these characteristics of his contributes to the securement of persuasiveness in Charles Dickens``s discussion about a new gentlemanship in Great Expectations in the Bakhtinian perspective. In this novel, Dickens portrayed his hero Pip as an innocent orphan, isolated both domestically and socio-hierarchically, as well as a sensitive adolescent boy. Also, Dickens narrated Pip``s self-authoring, where Pip was establishing his self-identity while responding so sensitively to his personal, social environment. Here Pip was pondering deeply almost all social, individual values disturbing a true gentleman, and his such profound meditation ended up exposing many social absurdities. Becoming a true gentlemen of Pip``s can also be an ideological becoming in that it makes him establish his belief system newly as a true gentleman. Actually, Dickens``s creativity was highlighted in this effort to make Pip``s new autobiography highly persuasive regardless of maximizing his hero``s interactive context. This narratology made Pip``s becoming a true gentleman more persuasive as well. By using the hero-characteristics of Bildungsroman as variables and restructuring as many gentlemanship-related factors as possible as his hero``s lived experiences, Dickens made all his discussions in Great Expectations so persuasive.

소설의 가능성: 돈 드릴로의 『코스모폴리스』

박금희 ( Park Geum Hee ) 대한영어영문학회 2014 영어영문학연구 Vol.40 No.4

This article aims to look into how Don DeLillo uses languages and generic factors in his novel Cosmopolis in the Bakhtinian perspective. DeLillo uses the core factors of popular genres and media, such as TV, street-performances and popular songs, etc. and engages his readers’ attention. In the case of Cosmopolis, such factors are various from curses, market shouts, street languages to literary languages, including confessions, diaries, all kinds of professional jargons, and diverse narrative devices, such as stream of consciousness, oxymoron and irony, etc. So it’s no exaggeration to say that this novel is an encyclopedia of languages. In the methodology, DeLillo prefers parody. For example, he reprocesses economic, technical jargons parodically and uses them to represent his critical intentions, so that without almost his direct comments, his readers realize easily and interestingly how the computer based global financial system works in the American culture. The result of our discussion here shows that the very parodic reprocessing lets this novel appropriate and stratify a variety of genres, styles, tones, nuances, etc. This narratology demonstrates the possibility of novel as an evolving genre. (Chosun University)

『마지막 주문』: 역사의 카니발적 재구성

박금희 ( Geum Hee Park ) 한국현대영어영문학회 2011 현대영어영문학 Vol.55 No.4

Graham Swift tries to assess christianity-oriented, ruling class-centered and patriarchal aspects of history and the main values supporting it in one of his best novels, Last Orders. He thinks that such values have been overestimated, focusing on or defending only the interests of the ruling groups while the world is changing radically, and so they need to evaluated in different perspectives. Thus, he chooses people belonging to lower-middle class as his main characters and reevaluate important socio-political ideas through them, such as Christian and patriarchal ones about death and family in their positions. Their jobs are a butcher, a used car dealer, an insurance salesman, an undertaker and a grocer. The travel from Bermodsey to Margate to keep a promise with late Jack makes them visit some historic places and think what history means in their real life, which, correctly speaking, shows how history intervenes and influences common people`s life. Swift does such things by describing the generation conflicts between Jack and his adopted son Vince through many devices, such as monologues, stream of consciousness, and dialects. Above all, he composes their conflicts humorously and carnivalesquely as Rabelais and Dickens, which the existing hierarchy of socio-political values is showed reversely and lets us reestimate history in different social positions. (Chonnam National University)

『리틀 도릿』에 나타난 카니발 문체

박금희 ( Geum Hee Park ) 근대 영미소설 학회 2008 근대 영미소설 Vol.15 No.2

라히리의 디아스포라리얼리즘: 『길들지 않은 땅』

박금희 ( Geum Hee Park ) 한국현대영어영문학회 2014 현대영어영문학 Vol.58 No.1

This article aims to examine how Jhumpa Lahiri interweaves various sociopolitical factors from both the Indian-American diaspora and the American society in her novel Unaccustomed Earth in the Bakhtinian perspective, and to find out what are the big problems when Indian-Americans acculturize, and assimilate themselves to the American culture. Especially, it is intended to find out what are the cultural and ideological values, interfering their carefree choices, by describing what her heroes and heroines accept and reject from the Indian tradition and the American culture. Also, it is an attempt to illuminate the characteristics of Lahirihi`s narratology. In this novel, Lahiri`s heroes and heroines, as absolutely independent beings, decide all things about their lives while interacting with their ideological environment. They think over all verbal, ideological points, approaches, indicators, values in the American cultural context as well as the Indian diasporic context, and use them in forming their newly forming world-views. Here, Lahiri`s experiences, as one of Indian-Americans, enable her to extend the narrative of this novel and to provide her characters with all kinds of traditional and cultural factors. Resultingly, this narratology of Lahiri`s lets her lead her heroes and heroines` wider interactions with their environments, and so their understandings more persuasive. (Chosun University)