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      • KCI등재

        『율리시즈』 의 서술의 불연속성과 조이스의 심미적 창조 : "싸이런즈"장과 "사이클롭스"장을 중심으로 Joyce`s A Portrait of the Artist as a Young Man

        김희선 한국제임스조이스학회 2001 제임스조이스저널 Vol.7 No.1

        James Joyce presents Leopold Bloom as a major character in his novel Ulysses. His life presented in Uysses corresponds to the mentally and morally paralysed lives which are portrayed in his early collection of stories Dubliners. The causes of the mentally and morally paralysed lives of Irish people insistently described by Joyce are quite various. First of all, Ireland is politically the colony of English imperialism. Other causes include the degradations of Catholicism and the corruptions of Irish nationalism. Joyce is surrounded by these Irish negative realities. Therefore, he continually reveals them in his works. They are especially well presented in Ulysses. Leopold Bloom also lives a frustrated life in these Irish negative realities. Joyce reveals them and presents Bloom's internal conflicts and the way he overcomes them in Ulysses. Joyce conducts many experiments on forms in not only revealing these Irish negative realities but presenting Bloom's internal conflicts and the processes of his overcoming them. He develops the plot by various narrative methods and tries his technical, stylistic and linguistic experiments in presenting what he wants to communicate. He doesn't necessarily depend on the method of narrative continuity produced by linear development of the plot. He develops the plot by producing the discontinuity of narrative through many technical, stylistic and linguistic experiments. This thesis examines how Joyce effectively reveals his negative realities and how he presents Bloom's internal conflicts and the processes of his solving them in Irish negative realities through his experiments on forms in "Sirens" and "Cyclops" Joyce's new writing methods derive from his country's negative situations. Ulysses written in innovative techniques is a result from Joyce's desire to save his country from its negative situations. Finally, Joyce tries to create the new narratives different from the existing narratives of Ireland and newly create his country's history for the afflicted Irish people.

      • KCI등재

        예술창조에 내포된 패러독스 : 블레이크의 『예루살렘』을 중심으로

        김희선 한국현대영어영문학회 2001 현대영어영문학 Vol.45 No.2

        William Blake has been called the prophet. of the New Age, but many of us have been somewhat bewildered by the complexity of his mythic system. It contains serious inconsistencies and owes its line of development to Blake's unceasing effort to reconcile them. Blake's system is impossible to pin down. Blake is constructing systems most coherently when he is smashing systems, and he is smashing systems most vigorously when he is constructing systems. The potent contradiction lies at the heart of Blake's system, and never-ending struggle to reconcile them gives his work its peculiar energy and value. And the main character who symbolizes the paradoxical task of artist is a "prophet of Eternity," Los. To find an answer to the question of whether Los does or does not construct a system is not possible. Los's art city, Golnonooza, is not identified with a city of Utopia and Truth, Jerusalem, but the means toward it. The poem Jerusalem is itself a system in part. There is an absolute end at the conclusion of it. But at the same time, it seems apparently to present a never-ending process. An artistic creation is the house window open out to the world of Eternity and Truth. In Blake, the goal of art is the moment at which it becomes unnecessary, because the whole of life has taken on the character of art. It is the job of the fallen artist to reorganize the natural body, to awaken it to its self-induced limitation and its real potentialities, until it regains the capacity to arise and enter Eden by itself. In this transformation, what we now recognize is the fact that art disappears. What Eden is like can be inferred from the experience of artistic work, especially from those moments in which the images are entered in imagination.

      • KCI등재

        『율리시즈』와 조이스의 포스트식민주의적 시각

        김희선 한국제임스조이스학회 2001 제임스조이스저널 Vol.7 No.2

        Some controversial characteristics of postcolonial writing can be applied to James Joyce's novel Ulysses. In the early twenties, the temporal background of the novel, Ireland was a colony of English imperialism, and Catholicism, as the mental prop of the Irish people, was gradually degraded. Although the Irish nationalism such as Sinn Fein tried to save the Irish people from this dismal situations, it became as violent as English Imperialism and also got very exclusive, narrow-minded, irrational and sentimental. As a result, in the matter of the Irish nationalism that first aroused his keen interest, Joyce later has taken a critical stance. Stephen Dedalus and Leopold Bloom in Ulysses go through cultural and psychological disruptions and are losing their identity as many Irish people do in this situation. This thesis examines how the Irish people are silenced and marginalized in the colonial society by focusing on some examples in "Telemachus", "Nestor" and "Circe". Thinking that Irish nationalism tends to become exclusive nationalism and cultural essentialism, Joyce is anxious about and warns against these corruptive aspects of Irish nationalism. Joyce in Ulysses attempts to indicate these negative aspects of Irish nationalism in the scene of Bloom's defeating "The Citizen", the very chauvinistic character, in "Cyclops". The narrow-minded, exclusive and irrational character, "The Citizen", symbolizes the undesirable aspects of Irish nationalism but his logic of power is symbolically defeated by Bloom's maintenance of love. This suggests that resisting the exploitation of English Imperialism by means of exclusive nationalism cannot but repeat colonial discourses based on binary oppositions. By showing the chauvinistic "The Citizen"s defeat by cosmopolitan Bloom, Joyce demonstrates that the exclusive nationalism and cultural essentialism cannot be effective means of resisting English imperialism. In conclusion, the desirable way of postcolonialism, as Joyce shows, is not so much resisting powerful dominance of English imperialism by means of power as overcoming colonial/dichotomous discourses groping for diverse ways of coexistence between nations beyond racial and political differences.

      • KCI등재후보

        경구 Prostacyclin 치료에 반응한 전신성 홍반성 낭창을 동반한 폐동맥 고혈암 1예

        김희선,류연주,이지수,신길자,성순희,정익모 대한내과학회 2002 대한내과학회지 Vol.63 No.5

        A 36-year-old woman was admitted due to dyspnea and generalized edema, and was diagnosed as systemic lupus erythematosus and right ventricular heart failure due to accompanied pulmonary hypertension. The patient had been treated with diuretics, digoxin, high dose steroid and high dose nifedipine to treat right ventricular heart failure and pulmonary hypertension. Although the symptom and pulmonary hypertension responded transiently by these treatment, dyspnea was aggravated again and pulmonary arterial pressure was elevated in 1 week after high dose nifedipine treatment. The combination therapy of oral prostacyclin analogue (Beraprost), high dose steroid, azathioprine, hydrochloroquine sulfate was tried subsequently and decrease of pulmonary hypertension and improvement of clinical symptoms was noted in 45 days after beraprost treatment.

      • KCI등재

        Reflections on Fishean Reader-Response Theory

        김희선 한국영미문화학회 2012 영미문화 Vol.12 No.1

        Fish’s early position of Reader-Response theory is that the meaning of the text is the reader's experience of the text. But the meaning in the text is not the ultimate, final meaning for him. Fishean reader's response to the meaning of the text is rather close to the process of going back and forth among possible interpretations. Therefore, the final and ultimate meaning of the text is created by the reader’s participating in deciding the meaning of the text. Because Fish places high value on the reader's response to the text and his or her cognitive process, Fish strongly insists that the reader writes the text and that by doing so he makes the text disappear. Because the “intended” readers who accurately interpret the text will discover what the author intended, Fish radically argues that all the author's intention is the reader's response to the text. Thus, he contends that there is no meaning in the text and all the meaning is coming from the reader. However, Fish does not give the reader freedom unlimitedly in creating the meaning of the text. The reader's response can be controlled by interpretive communities. All the meaning is not from the text itself but from the interpretive grid that reader projects upon the text. In sum, Fish adjusts his early theory by introducing the notion of interpretive communities into the theory of the late Fish. Namely, what Fish says is that all meaning is coming from the reader does not mean that each individual reader makes up his or her own unique, absolutely original meanings for the texts. What the reader does, instead, is participate in various interpretive communities already out there. He or she shares paradigms for interpretation with others. Even if Fish gives the priority to the readers in writing the meaning of the text, he is ready to control the readers by regulator, that is, "the interpretive community" simultaneously. Here lies some unsolvable indeterminacy in Fishean Reader-Response theory.

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