『율리시즈』 에 나타난 광고담론

남기헌 한국제임스조이스학회 2001 제임스조이스저널 Vol.7 No.2

Adversiting discourse is no longer marginal in the Joyce industry. In her heralding study, Advertising Fictions, Jennifer Wicke regards advertising as "an archive, in the Foucauldian sense." She also argues that advertising looks forward to "the death of the human subject." Here I will argue that advertising discourse is inseparable from other politico-socio-economical discourses, since advertising employs other discourses strategically and in turn they use strategic methods in promoting their ideas and practices. So I deal with the ways in which both Irish nationalist ideology and Catholic creeds are so interrelated to advertising that the borderline between "high culture" and "low culture" is being erased or at least incessantly being blurred. James Joyce's childhood nickname was "Sunny Jim," a phrase from the jingle used in a cereal advertisement, since he was always a merry boy. In his Trieste library, a book titled The Art of Selling Goods, is a good example of Joyce's interest in advertising. These may explain why Leopold Bloom, the main hero of Ulysses, works as an ad canvasser. On June 16, 1904, his main mission is to get a three-month renewal from his client, Alexander Keyes, whose ad he is working on. Bloom thinks that the ad of "the House of Keyes" has an "innuendo of home rule." In other words, he deploys political discourse in promoting his ad. In an ad printed in Shan Van Vocht, the advertised brooches and pins have a phrase, "Who Fears to Speak of '98?" This phrase is a reminder of the 1798 revolution led by Wolfe Tone, and this revolution is regarded as a starting point of militant nationalism throughout Irish history. Its other manifestations are the Phoenix Park murders in 1882, and the Easter Rising in 1916. The former is mentioned in a talk about Ignatius Gallaher's "inspiration of genius" and the case of selling a 10-year anniversary postcard in the Phoenix Park. Both events are related to advertising and commodity culture. Adversiting trespasses the holy ground of religous discourse by stimulating people's religious emotions and persuading them to buy something while religion cannot help using advertising strategies in order to sell religious creeds to non-believers. One of the most distinctive examples of the convergence of religion and advertising is American revivalist Alexand John Dowie's throwaway, an advertising sheet. Alexander Dowie is presented as the modern-day Elijah with a commerical tinge. The efficacy of the Revelation is lost in the middle of commercial jargons. So the boundaries between advertising and religion is blurred or effaced. In Ulysses, James Joyce looks forward to the advent of new age, primarily based on capitalism and commodity culture. Advertising does not only play an important role in constructing the human subject in modern age, but also tears down any hierarchical system of discourses. Joyce regards advertising not only as the scene of writing, as Jennifer Wicke emphasizes, but also as the arena of competing discourses, in which the reader must actively participate, in order to get some meanings.

Joyce's “Revolution of the Word”: Language and Its Dis/contents

남기헌 국제언어인문학회 2009 인문언어 Vol.11 No.2

In Finnegans Wake, which has been regarded as unreadable, Joyce succeeds in the “revolution of the word,” in that he not only rejects the linear convention of narration, but also problematizes the stability of signification by multiplying possibilities of malsings. Joyce's idea of language must have been influenced by hcatcontemporary linguistics theories, but he incessantly embraces as wbll as rejects any one theorem, thus producing the ever-moving displacement of meanings. Joyce deploys the biblical myths of Incarnation and the Tower of Babel throughout Finnegans Wake, in order that he disrupts the mimetic nature of language. By displacing and transforming national identities, he seems to valorize the universality of signification, but actually he tries to debunk the primacy of English in his own work. For example, he demystifies the sacredness of Incarnation by apposing the earwig's biological invasion into the human ear. Joyce's another tactics is to debunk as well as to restore Irishness by comparison of Englishness. His focus on racial and language differences is a detour to the recovery of his own Irish identity, which will be once again interrogated in his self-mockery. Joyce's employment of etymological analysis functions as a critical thrust into the origin of language. In other words, Joyce's Wake is already postmodern in that it deconstructs the essence and origin of identity. In conclusion, Joyce's “revolution of the word” is not just a stylistic or philological one, but rather is political in that he never alienates himself from Irish history and political conditions, even though he was self-exiled. So Finnegans Wake is a product of Joyce's delve into his own particular history and identify. In Finnegans Wake, which has been regarded as unreadable, Joyce succeeds in the “revolution of the word,” in that he not only rejects the linear convention of narration, but also problematizes the stability of signification by multiplying possibilities of malsings. Joyce's idea of language must have been influenced by hcatcontemporary linguistics theories, but he incessantly embraces as wbll as rejects any one theorem, thus producing the ever-moving displacement of meanings. Joyce deploys the biblical myths of Incarnation and the Tower of Babel throughout Finnegans Wake, in order that he disrupts the mimetic nature of language. By displacing and transforming national identities, he seems to valorize the universality of signification, but actually he tries to debunk the primacy of English in his own work. For example, he demystifies the sacredness of Incarnation by apposing the earwig's biological invasion into the human ear. Joyce's another tactics is to debunk as well as to restore Irishness by comparison of Englishness. His focus on racial and language differences is a detour to the recovery of his own Irish identity, which will be once again interrogated in his self-mockery. Joyce's employment of etymological analysis functions as a critical thrust into the origin of language. In other words, Joyce's Wake is already postmodern in that it deconstructs the essence and origin of identity. In conclusion, Joyce's “revolution of the word” is not just a stylistic or philological one, but rather is political in that he never alienates himself from Irish history and political conditions, even though he was self-exiled. So Finnegans Wake is a product of Joyce's delve into his own particular history and identify.

"탄생어": 조이스, 언어 그리고 아일랜드 민족주의

남기헌 한국제임스조이스학회 2004 제임스조이스저널 Vol.10 No.2

Mass Media and Communication in Finnegans Wake

남기헌 한국제임스조이스학회 2008 제임스조이스저널 Vol.14 No.2

James Joyce’s Finnegans Wake presents us with a number of self-reflexive expressions, for example, “This nonday diary, this allnights newseryreel” (FW 489.35). This means that Finnegans Wake is a work about the nocturnal world, which is also the dream world. So Joyce adopts a different strategy to deal with this nocturnal world. His last work registers the new era of mass media including newspapers, illustrated periodicals, and motion pictures. It problematizes interpretation itself by interrogating a variety of communication modes, thus undermining its complacency. Joyce focuses on the influence of popular discourses on the minds in childhood and explores the visualized pages of popular journalism, in particular, comic strips. His reference to such comic figures as Mutt and Jeff, Ally Sloper, and so forth reveals that his childhood world is populated with these comic characters. The main character of Finnegans Wake, HCE, is also derived from a cartoon image, and his incessant transformations are made possible by the cartoonist imagination. References to various forms of mass media show Joyce's concern about the influence of popular discourses on the common people. By exploring these modes of communication, Joyce presents the problematics of communication. First of all, he questions the valorization of any sense, whether visual or aural. In addition, communication is not completed when it is interrupted. By using an example of interference in radio, Joyce puts communication into question. In Finnegans Wake, which deals with the dream world, he destabilizes any complacency of identification, thus making any interpretation incomplete. So his interest in mass media corroborates his strategy of problematizing the process of interpretation itself. James Joyce’s Finnegans Wake presents us with a number of self-reflexive expressions, for example, “This nonday diary, this allnights newseryreel” (FW 489.35). This means that Finnegans Wake is a work about the nocturnal world, which is also the dream world. So Joyce adopts a different strategy to deal with this nocturnal world. His last work registers the new era of mass media including newspapers, illustrated periodicals, and motion pictures. It problematizes interpretation itself by interrogating a variety of communication modes, thus undermining its complacency. Joyce focuses on the influence of popular discourses on the minds in childhood and explores the visualized pages of popular journalism, in particular, comic strips. His reference to such comic figures as Mutt and Jeff, Ally Sloper, and so forth reveals that his childhood world is populated with these comic characters. The main character of Finnegans Wake, HCE, is also derived from a cartoon image, and his incessant transformations are made possible by the cartoonist imagination. References to various forms of mass media show Joyce's concern about the influence of popular discourses on the common people. By exploring these modes of communication, Joyce presents the problematics of communication. First of all, he questions the valorization of any sense, whether visual or aural. In addition, communication is not completed when it is interrupted. By using an example of interference in radio, Joyce puts communication into question. In Finnegans Wake, which deals with the dream world, he destabilizes any complacency of identification, thus making any interpretation incomplete. So his interest in mass media corroborates his strategy of problematizing the process of interpretation itself.

Reading Ulysses as a Journal

남기헌 국제언어인문학회 2011 인문언어 Vol.13 No.2

Joyce's setting of the clock of Ulysses on June, 16, 1904, has raised a lot of suspicion about his lack of history and surmises about any special significance of that day. Of the two different perspectives on history, the “historiographical” is preferred in this approach to Ulysses, since the “historicist” valorizes grand narratives of historic significance, which means the exclusion of petit récits. By adopting a journal form, Joyce strategically blurs the complacent distinctions between private and public,history and journal. Many critics have attempted to contextualize the date, June 16, 1904, but no plausible, satisfying answer has ever been given. I argue that this dissatisfaction must be readdressed in terms of Joyce's interest in journalism and popular culture. Long before the “Aeolus” episode, whose location is the newspaper office, and whose page format is similar to newspapers, Joyce has employed a personal journal at the end of A Portrait. The itemization of experience is similar to interior monologue technique, in that it adopts the Bergsonian concept of durée, a psychological concept of time. So Joyce's organizing of Ulysses as a journal is a strategy to incorporate encyclopedic desire into a limited form. As a result, many anachronic references were pointed out by many critics, some of whom blame Joyce's Ulysses for being an ahistoric, apolitical text. But Joyce questions the linearity of historical narrative by deploying many historical events in a fragmented, synchronic way. Joyce must have used some anachronic references to the effect that the complacent juxtaposition between unrelated, conflicting discourses is questioned. Joyce's use of a journal form articulates his preoccupation with history. In “Nestor,” Stephen's retort to Mr. Deasy's remark of teleological historicism encapsulates Joyce's critique of the unilinear, monocausal concept of historical progressism. Joyce's yoked condensation of many concepts of time - diachronic, synchronic, transchronic, etc. - blurs our sense of history as telos, like Mr. Deasy's goal. Instead, Joyce embraces the trivial events, fragments of history in a journal, thus incessantly interrogating the history as the victor's recordings. Joyce must have resisted the justification of the British domination over Ireland as a historical “fact.”

청주시정평가에 적용한 BSC모델

남기헌,김상해 한국지방자치학회 2009 한국지방자치학회 세미나 Vol.2009 No.8

地方自治實施와 住民參與의 活性化에 관한 硏究

南基憲 청주대학교 1987 한국사회과학연구 Vol.6 No.-

It is very importomt that implementation of local-autonomy is to respond to citizen's basic needs and make equitable national land development. Such a implementation of local self Gov't is to pursue efficiency, democratization, and specalization of public administration. In light of as mentioned above in this paper, this writer tries to reveal problems in the process of citizen's participation, and provide activation ways. The contents of this paper are as follows. Ⅰ) Impeding factors of participation. 1. Centralized administrative system, closed system and monopoly of information cause people's indifferrence toward public administration. 2. Public servant's authoritarian behavior and lack of responsility as a public servant, give rise to disharmony between people and Public Administration. 3. People's indifference toward participation impedes rational and active participation. 4. Lacks of participation channel and participation system, making and implementation of official-leaded Administrative planning narrow people's participation chances. Ⅱ) Activating ways of participation. 1. Implementation of local self-Government. 2. Securing people's participation at the whole procoss of Public Administration. 3. Making public all information which Gov't have, and sharing them with people. 4. Activating all Advisory commission and Pan Sang Whoi Pan meeting, 5. Changing people's behavior toward participation and public servant's way of thinking toward participation. When every problem as mentioned above are solved, activation. of citizen's participation as well as administrative system of the people, by the people, for the people will be rooted in our soil and then democracy will be bright.

韓國 監査制度의 史的背景에 관한 小考 : 三國時代부터 甲午改革 以前까지

南基憲 청주대학교 대학원 1992 우암논총 Vol.8 No.-

약용작물 산업화 정책방향

남기헌 한국약용작물학회 2021 한국약용작물학회 학술대회논문집 Vol.2021 No.1

Joyce’s Body Politics in Ulysses

남기헌 한국제임스조이스학회 2013 제임스조이스저널 Vol.19 No.2

James Joyce, who once remarked, “Ulysses is an epic of . . . the body”, interrogates the valorization of soul over body by deploying discourses of physicality to a great degree throughout his works. By mapping out the interface of physical culture and militant nationalism, I will show how Joyce employs the representative figures—Eugen Sandow, the founder of physical training, and Michael Cusack, the founder of the Gaelic Athletic Association. Born and raised in the militant atmosphere of his native country, Prussia, Eugen Sandow emerged as the icon of masculine empowerment, and followed the imperialist imperatives for physical reinforcement by engaging himself in promoting physical culture and developing training programs. In Ulysses, Bloom buys Sandow’s exercises, his program book and a patent device, Sandow-Whiteley pulley exerciser in order to recuperate his virility. Sandow’s emergence as a strong man on the stage coincided with the demand for physical strength, in particular, on young men who were conscripted for the war that the British government waged in the South Africa. Sandow appeared on the stage, dressed in a military uniform, and promoted his physical training program in his own magazine. In “Cyclops,” which deals with Irish nationalist agendas, Joyce creates the Citizen, based on the real Cusack, the founder of the Gaelic Athletic Association. Although it is a complicate problem to identify some features of Cusack’s real life, Joyce creates a composite “caricature” of Irish nationalist. In a parody of parliamentary minutes, Joyce deals with the ban of Irish games in Phoenix Park. MP Nannetti attends a parliamentary session, whose committee members are characterized as engaging in imminent political agendas. Joyce’s anachronistic use of the Croke Park massacre reinforces his keen awareness of the brutality of Prime Minister Balfour’s coercion policy, which permits the reinforcement of military policing. Joyce’s final deployment of an associative device is the Citizen’s canine fellow, Garryowen, not only because Sandow is accompanied by his hound, Sultan, but also because ancient Irish heroes also have their hounds, for example, Finn and his Bran. The Citizen’s mongrel canine is employed to undermine the national purity promoted through a concept of “Irish Ireland,” which naturally excludes an alien like Bloom. In conclusion, Joyce shows the pervasive dominance of masculine prowess promoted by the cult of physical strength, and the similarity between imperialist ideology and Irish militant nationalism.