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김봉은 ( Bong Eun Kim ) 미국소설학회(구 한국호손학회) 2015 미국소설 Vol.22 No.2
Bertrand Westphal, a French geo-critic, asserts, “everything is now relative, even the absolute,” and thus “the ideas of unity, teleology, and a clear hierarchy of values are no longer conceivable.” He highlights the need to spatialize narrative time “enabling us to de-territorialize the stereotypical views of place and the illusion of permanence suggested by received wisdom and hegemonic discourses.” The central tenets of geo-criticism can be summed up in four propositions: geo-centrism, multi-focalization, poly-sensoriality, and stratigraphic perspective; fictional texts are to be taken as part of a body of evidence that will lead to a better understanding of the place. Geo-critical theories accurately illuminate the elusive but quint-essential significance of what Gerald Vizenor does with his Dead Voices which, focusing on the space rather than any specific observer, de-constructs homogeneous boundaries, reproducing all its possible heterogeneous complexity. In his Native American text, Vizenor achieves the geo-critical goal, to be open to the auditory, olfactory, and tactile dimensions of place and to develop a polyphonic or dialogical understanding of the place in question. To analyze Vizenor’s using ‘trickster’ and re-conceptualizing ‘family’ and ‘home’ by means of the story of the stone further vivifies the implication of de-constructed space in his fiction in the twenty first century academia. The geo-critical light lucidly discloses one of the key intent of Vizenor’s writing, to steer his readers as well as himself to peace and harmony beyond conflicts due to any artificial demarcation.
김봉은 ( Bong Eun Kim ) 한국현대영미소설학회 2015 현대영미소설 Vol.22 No.3
Zizek Slavoj`s theory of fantasy, based on psychoanalysis, in pursuit of cure, convincingly illuminates how and why Gerald Vizenor presents fantasies, continually traversing them, in The Everlasting Sky. The analysis by applying Zizek`s three major concepts distinctly exposes the significance of Vizenor`s use of fantasies in his text: “the excessive fixation on an empty signifier,” “the excess of ‘exaggeration’ to undermine the falsity of the balanced totality,” and "the cure by penetrating through symptoms to the fundamental fantasy.” In this paper, I will investigate how Vizenor visualizes the fantasy formation and subversion, excessively exaggerates certain fantasies, and plays with the fundamental fantasy in The Everlasting Sky. In the light of Zizek`s theory will clearly emerge Vizenor`s aim to portray the existing images of America and American Natives as signs excessively fixed on empty signifier. By showing and traversing the fundamental fantasy fixed on traumas of American history, it will be disclosed, Vizenor attempts to liberate and cure his readers from the plague of existing fantasies.
리챠드 파워즈 『갈라티아 2.2』에 함축된 포스트휴먼 종교 의식
김봉은(Bong Eun Kim) 한국아메리카학회 2005 美國學論集 Vol.37 No.2
N. Katherine Hayles interprets Helen, a sophisticated hi-tech artificial intelligence in Richard Powers"s autobiographical SF novel Gatatea 2.2, as Powers"s projection of the idealistic companion for human in the posthuman age. Helen in which binary borders-science and literature, science and myth, mind and body, and machine and human-blur commits a suicide after learning human condition through reading literature. According to Rene Girard"s religious theories of "violence," "scapegoat" and "sacrifice," discussed in Violence and The Sacred (1972), Helen"s death has her take the role of the scapegoat to purify damages that advanced science and technology has brought about and may cause. Thus, Girard"s theory illuminates Galatea 2.2 as the sacrificial ceremony Powers has created so that the upcoming posthuman age may be full of healthy solidarity not only among humans but also between humans and machines to defeat loneliness, the most horrifying violence.