Gift and Its Dis-contents in King Lear

Seung-Hee Roh(노승희) 한국셰익스피어학회 1998 셰익스피어 비평 Vol.34 No.-

유전 및 육종 : 한우 초음파생체단층촬영 형질에 대한 유전모수 추정과 씨수소 선발에 관한 연구

노승희 ( Seung Hee Roh ),김창엽 ( Chang Yeup Kim ),원유석 ( You Seog Won ),박철진 ( Chel Jin Park ),이성수 ( Sung Soo Lee ),이정규 ( Jeng Gyu Lee ) 한국동물자원과학회 ( 구 한국축산학회 ) 2010 한국축산학회지 Vol.52 No.1

『릴리쓰의 아이들』에서 읽는 포스트페미니즘 의제들

노승희(Seung-Hee Roh) 한국영미문학교육학회 2007 영미문학교육 Vol.11 No.2

  Seeing differences among women as being constitutive of the category of sexual difference, Postfeminism starts to work with the issues left unresolved by Feminism; it purports to address the complicated operations of power and violence on women, taking account of differences among women seriously. Postfeminism is thus less concerned with the question what woman is or desires. It is more engaged in working through the multiple nodes of power and inventing the strategic vocabularies that would bring the agency of women across the borders of multiple differences into the making of a better world for each and every woman"s subjective becoming. The agenda of Postfeminism is well articulated in Octavia Butler"s SF trilogy Lilith"s Brood that depicts a world of posthuman, interspecies creation, in which differences matter in individual as well as collective becomings. Lilith"s Brood starts with a warning against the human, especially men"s, hierarchical behaviors, which are intolerant of differences and thus endanger the continuity of the human species and its civilization. Eventually Butler"s trilogy envisions an alternative style of life in which such radically heterogeneous beings as the Oankali, an alien species, and the humans come together in building a mutually enabling symbiotic alliance. Here what matters is "body knowledges," to use Butler"s words. The body is not a fixed entity but a mutable form, constructed of heterogeneous elements which are assembled and reassembled by genetic modifications in intra-species crossbreeding. The body knowledge principle is explored first in Lilith"s role of a monstrous mother and again with the "Constructs" like Akin and Jodahs, who are posthuman hybrid subjects in Lilith"s Brood. For them, the self and the other do not remain exclusive to each other; they form a mutually enabling symbiotic bloc, allowing each other to become and grow. Butler"s xenogenetic characters exemplify the politically enforced collective subject which Rosi Braidotti advocates as the ethical agent of Postfeminism that generates metamorphoses beyond gender politics. Life surely changes as the body changes.

『햄릿』에서의 복수의 불가능성과 경제적 무의식

노승희(Seung-Hee Roh) 미래영어영문학회 2016 영어영문학 Vol.21 No.1

Hamlet’s dull revenge has provoked an unending critical controversy over centuries, in which many able critics and scholars have assailed one another about the hero’s motive in delaying the work of revenge or the causes of the hero’s inability to do the job. The unavailability of critical agreement on these issues suggests that Hamlet is not to be understood as a revenge play per se. Unlike the heroes of other revenge tragedies, Hamlet shows no strong interests in plotting against his evil enemy. This paper argues that Hamlet succeeds where its hero fails, and that the business of Hamlet is not to present the particulars of revenge but rather to let the audience, as well as the future narrative community anticipated by the hero’s dying words, understand the impossibility of revenge as an act of justice. The economic unconscious is abound in the world of Hamlet, where words are treated as coins, and the whole range of human behavior from feeling and thinking to making relations with another individual is put on the scale of evaluation, thus quantified and arithmetically measured. Signalled by the king’s thrift policy, utility defined by instrumental rationality is the dominant ethos in the state of Denmark, in which the language of market exchange prevails in social commerce and communication, all distinctly marked by profit-oriented motives and thus making common terms of justice impossible.

접경지대 여성의 몸

노승희(Seung-Hee Roh) 도서출판여이연 2003 여성이론 Vol.- No.9

셰익스피어 시대 영국의 국민주의와 음식

노승희(Seung-Hee Roh) 한국셰익스피어학회 2013 셰익스피어 비평 Vol.49 No.4

The building of a nation-state in Tudor England was an uneven process in which a whole spectrum of historical agents got involved; as such, it never remained a monarchical project. Instead, nation defined as an imagined community, a term proposed by Benedict Anderson, began to take shape through complex negotiations among people who felt the need for a shared political identity while seeking to promote self-interests. Among the multiple factors that mediated the historical process, Englishness was most prominent. It served as a common anchorage in the development of a collective national identity. Analyzing Henry V and Sir Thomas More, this paper argues that Englishness was not a given political category but a mode of identification creating a fantasy of bond among scrappy individuals divided otherwise by the preexisting formulations of subjecthood, such as class, religion, ethnicity, places of origin, and so on. The most immediately available sources for creating a shared fantasy were found among common cultural practices, especially the ones involving food choices and eating habits. The “band of brothers” in Henry V and the rioters in Sir Thomas More are examined as showcases of the emerging national consciousness in Shakespeare’s time. The first suggests that the subject’s willing imaginary identification is the determining factor of a nation. The second envisions London as a civic body, a form of the national political order on a smaller scale, which is based on fraternal alliance among citizens.

자전적 글쓰기의 에로티즘: 맥신 홍 킹스턴의 『 여인 무사 』에 나타난 모어 (母語) 의 시학

노승희 ( Seung Hee Roh ) 한국영미문학페미니즘학회 1996 영미문학페미니즘 Vol.3 No.1

Maxine Hong Kingston`s Woman Warrior is a text that illustrates many specific tendencies of women`s autobiographical writing which not only offers an alternative to the linear, self-referential mode of classical autobiography but also deconstructs the political economy of patriarchal culture. Unlike traditional autobiographers like St. Augustine or Rousseau who have the singular aim to mirror their authentic self by confessing the truth of their life, Kingston does not pretend to depict what Maxine Hong Kingston really is but seeks to construct her textual body as a writing subject, whose pleasure arises from the possibility of re-describing, rather than representing, what she considers as harmful and oppressive to the women of the world in which she now inhabits as well as of the world which she has inherited from her Chinese ancestors. Especially, by rewriting from her own American feminist consciousness the stories which her Chinese immigrant mother has told her, Kingston performs a cross-cultural redefinition of woman`s identity that resists the constraints of patriarchal discourse, and produces a political text that displaces the rigid boundary between the First and `Third worlds or between the mainstream and the marginal, minority existences. Also, the relay of talk-stories between Maxine and her mother establishes a Chodorovian mother-daughter continuum which creates, by means of the mother tongue expressed in an lrigarayan female language of two lips, an aesthetic space of theatre and songs in which the erotic commence between selves and others takes place, facilitating fluid translations between them, while withholding the circuit of the economy of phallogocentrism which operates only for self-aggrandizement at the expense of others.

초기 근대 영국의 미각의 질서 -셰익스피어 희곡의 음식 기호와 사회적 유동성

노승희 ( Seung Hee Roh ) 한국영어영문학회 2011 영어 영문학 Vol.57 No.1

Shakespeare`s plays deploy an interesting array of food signs in a way to illuminate the historical process of what Stephen Mennell has described as “the civilizing of appetite”-a process in which the changes of food choices and eating habits took place in response to the changes in people`s way of life and personality structure over the long-term modern period since the middle ages. Shakespeare`s plays suggest that the civilizing of appetite in early modern England was heavily affected by the forces of social mobility as well as the nascent market economy. The Capulets` costly preparation of Juliet`s wedding banquet is a showcase of conspicuous consumption which was a structural necessity for the ruling class in Shakespeare`s time. Some fifteen years later, the same kinds of foodstuffs are included in a shepherd`s shopping list for the sheepshearing festival in Winter`s Tale. This is a significant coincidence to prove that food was an important source of emulation and contest among different social classes; and that the rich diet of the upper class gave impetus to social mobility. The Elizabethan subjects, especially among the elite noblemen, were interpellated by the ideology of food that equated the quality of food and the eater`s social identity. Faced with bankruptcy as a consequence of his extravagant consumption habit, Bassanio in The Merchant of Venice testifies to the gripping ideology of food onto early modern people, while Poor Tom in King Lear presents a comic parody of the rich people`s conspicuous waste. Also in Coriolanus and The Merry Wives of Winsor, Shakespeare uses food as a metaphor for class-motivated social struggles.

『베니스 상인』에서의 교환의 정의와 사회적 적대

노승희(Roh, Seung-Hee) 미래영어영문학회 2018 영어영문학 Vol.23 No.1

『햄릿』의 카니발 미학

노승희(Seung-Hee Roh) 한국셰익스피어학회 2008 셰익스피어 비평 Vol.44 No.3

In Hamlet Shakespeare put the Elizabethan ideology of the body politic under interrogation at the close of Queen Elizabeth's reign. Scrutinized by the Elizabethan discourses of order, Hamlet's Denmark is not a healthy and functional body but a polluted and rotten one. Denmark's diseased body politic is manifested by three symptoms: the appearance of the Ghost, the anticipated invasion by the Norwegians led by Fortinbras, and the neglect of the proper mourning ritual for the death of King Hamlet by the newly throned Claudius and his followers. The symptoms mark Denmark's important referential registers - i.e. the natural-supernatural order, the foreign relations, and the domestic political and social structure. They concur in locating the pollutant in King Claudius's court. It is because those who are responsible for the health and safety of the Danish body politic are concerned only about their own access to power and the expansion of their political influences, thus causing themselves severed from the rest of Denmark. Interestingly enough, the Danish ruling bloc speak the same language and ideas of kingship and the body politic in general as what the Tudor ideologues advocated. Yet they are blind to the crucial fact that the disruptions of the Danish body politic are provoked by their own wrong doings, including Claudius's double crime and negligence of mourning. Conversely, the underprivileged marginal figures, such as the grave diggers or the unprincely Hamlet acting like a clown, can see the fault-line in the hegemonic practices of the rulers and provide counter-discursive practices that may redress the disarrayed state of Denmark. Especially Hamlet's performance of an antic role, which he assumes in a mourning ritual for his murdered father, touches on the principles of the Bakhtinian grotesque body. It is the clownish Hamlet, not the crown prince, who awakens senses of ethical responsiveness in the Elizabethan audience as well as the unfeeling subjects of Elsinore, thus hinting at the reform in the ideological closure of monarchy on the stage and beyond.