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이디스 와튼(Edith Wharton)의 『순수의 시대』 The Age of Innocence 에 나타난 순수(Innocence) 이데올로기의 메커니즘
김숙재 한국성서대학교 출판부 2006 一粒論叢 Vol.12 No.-
In the American aristocracy of The Age of Innocence by Edith Whatnot, three categories were it the ruling ideology of innocence around the 1870's. Besides general definitions of the word "innocence", such as being innocent morally or socially, Whatnot's intention is to reveal a third category of conventional innocence, which was seen in the lives of the main characters of her novel. First, Newlatd Archer is a morally innocent bridegroom, even though he had a love affair with a married woman before his marriage. The customary code of the New York society it those days was composed of a double standard, by which met were considered sexually free to have women other that their wives. However, women were bound to their own husbands and were not permitted the same sexual freedom. Thus, in moral aspect, Archer is innocent until the end of the novel, based on this social code. Secondly, Newland Archer is not psychologically innocent because other than his wife, he loves another married woman May's cousin, Ellen, even though he was morally free to do so. Another custom code of high class society was dreading scandal and restricting scandalous behaviors with mute messages. Therefore, as a guilty husband, Archer is tot-verbally restricted by his family and the aristocratic society that exclude him from their decision to prepare a great farewell party for Ellen's return to Europe. Thirdly, Newland Archer is religiously protected even though he is tot psychologically innocent. It fact, the religious code of New York society was tot just that of the Puritan Christianity, but the law of the aristocratic society. And their rule was not to allow a violator of their law or at intruder from outside. At length, while Ellen was expelled from their society, because she did tot comply with their laws while Archer is ironically protected and respected according to their customs. Thus Whatnot manages to succeed it revealing the three aspects of the ideological mechanism of innocence, through the life of Archer. After the death' of May, Archer is free to meet Ellen it Paris, but he returns to his hotel without going up to Ellen's apartment. Apparently Archer seems to have ended up as a victim of the conventional ideology of innocence. Yet Wharton gives him his privacy, making his life honorable and valuable, which can be interpreted as Whatnot's hidden purpose and nostalgic affection for her past contemporaries of the pre-World War I New York.
William Dean Howells의 The Rise of Silas Lapham에 나타난 사실주의적 Imagery 연구
김숙재 한국성서대학교 출판부 2003 一粒論叢 Vol.9 No.-
I studied The Rise of Silas Lapham by William Dean Howells through three images, such as Lapham as a businessman, Lapham as an architect, and Lapham as a humanitarian. First, Lapham the businessman made a fortune by sacrificing his friend and by destroying nature, and so on. Second, Lapham the architect tried to build a new house and to establish a new family in vain. Third, Lapham the humanitarian gave up his own wealth and went back to the country to live a faithful life. Howells describes Silas Lapham as the real everyman who is struggling against himself in real life. Howells also advocates some realistic dramatic techniques, but attacks other romantic techniques, which he asserts do some harm in realistic situations through this novel.
김숙재 한국성서대학교 2004 一粒論叢 Vol.10 No.-
I studied three allegories of the Bible to analyze some aspects of the absurdities of the play, Waiting for Godot, by Samuel Beckett. Beckett used three biblical allegories; the story of the Redeemed Thief, the story of the Good Samaritan, and the parable of the Tree of Life. Beckett uses these allegories to attack the Christian ideology, which had been ruling the western society, breaking the frames of the traditional theater and establishing his unique new styles of expression on the stage. First, through the incident of the Redeemed Thief, Beckett raised a question with a doubtful text and the uncertainty of human salvation. Second, through the story of the Good Samaritan, he established the texts of a metatheatre and a tragicomedy. Third, with the parable of the Tree of Life, he opened the scene of an anti-play and raised the self-conscious skepticism. Finally, but most importantly, he made amazing success in the unexpected effects of the performances of Waiting for Godol, giving some hopeful signs to his audience, rather than his intentional absurdities in human conditions.