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- 저자 : ( Dan Disney ) (검색결과 2 건)
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Xenotextuality? Conceptualism, Materiality, and the Sublime
( Dan Disney ) 한국영어영문학회 2015 영어 영문학 Vol.61 No.3
In his essay, “On the contribution of poetry to the search for truth,” Hans-Georg Gadamer imagines lyric poems reflect processes of making ourselves at home, by pledging (Zusage) and proclaiming (Ansage) the image and sound of truthful-seeming statements (Aussage) of self-recognition? Gadamer’s aletheia. But what is the truth-telling of poetic texts which abandon lyric conventions? The lyric poem’s exclusive grip on materiality (in which sound extends sense) is challenged by the proclamations of Conceptualists, in which language is not employed to make resonant, musical sounds but is instead employed as a “sculptural or painterly material” (Dworkin xxxvi). These competing traditions (lyricism, Conceptualism) are somewhat synthesized in Christian Bok’s “xenotext,” which is both post-lyric poem and recursive ontological procedure; colonizing DNA from the Deinococcus radiodurans bacterium, this living poem proclaims brave new realms of possibility, a kind of onto-formalism which radically rematerializes language to gesture toward empty zones of future dimensions already glimpsed by Bok.
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“. . . only a girl”? Labor, Gender, and Murderous Constituencies in Alice Munro`s “Boys and Girls”
( Dan Disney ) 한국영어영문학회 2016 영어 영문학 Vol.62 No.2
Alice Munro’s “Boys and Girls” is situated on the boundaries of a phallocracy breeding gendered captives, both both animal and human. The unnamed narrator in this Bildungsroman remembers her 11-year-old self, growing up on a farm and helping her father raise silver foxes for their pelts before she is shifted unwillingly from childhood to girlhood, and from the event-filled fields into (it is implied) her mother’s kitchen. Loaded into this transition are gender definitions impelled with “reproach and disappointment” (575); Munro’s tone remains largely elegiac. Presenting gender as performative, Judith Butler understands these constituencies as a “corporeal field of cultural play” (Butler 282); what seems clearest in Munro’s text is that each body is linguistically engendered, male language (authoritative and rendering silence) substantively defining and foreclosing psychic, affective, and spatially functional zones for female others. This paper reads Munro’s presentation of emergent gender constituencies as a constellation of power/knowledge discourses in which language situates subjects within differentiated symbolic orders; the grammar and syntax of male iterations of “girlhood” is read here as gesturing toward a protagonist’s imminent entrapment and enclosure.
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