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모더니스트의 뉴욕: 크레인의 「다리」와 도시 재현의 문제
손혜숙 ( Hye Sook Son ) 한국아메리카학회 2012 美國學論集 Vol.44 No.3
Hart Crane`s depiction of New York far exceeds the other modernists` representation of the city in that it covers almost all the features of twentieth-century urban experience and treats the city as the site and sign of social reality. However, many critics in Crane studies have failed to fully appreciate the value of his works as a record and a critique of the modern industrial and economic landscape. My close reading of his poems “The Tunnel” and “Atlantis” from The Bridge focuses on his preoccupation with New York City. Like other modernists, Crane regards the city not only as a form of modern life but also as the physical embodiment of modern consciousness. However, his approach to the city is different from the others` in three ways: first, he enacts the search for modernity not by fleeing into the imagination but by directly confronting the diverse aspects of urban life. Second, his representation of the city is inseparable from his sympathy with lower-class people. Considering many criticisms of the modernist texts for their lack of lower-class characters as well as for their lack of realism, Crane`s The Bridge exceptionally fulfills the project of realism to embrace social diversity within the outlines of poetic space. Last, Crane illustrates a positive vision while accepting the dark reality of the modern metropolis. Though in his text he explores isolation, indifference, and the loss of purpose and meaning, what he eventually suggests is not skeptical pessimism but transcendence and all-embracing positivity. His representation of New York helps to broaden the narrowly defined concept of modernism with a unique synthesis of redemptive imagination and a realistic criticism of the modern city.
손혜숙 ( Hye Sook Son ) 한국영어영문학회 2014 영어 영문학 Vol.60 No.4
Many critics of Hughes studies have assumed a couple of breaks in his career: his proletarian poetry of the 1930s signals a break with the poetics of Harlem Renaissance while his notorious retreat of the 1950s from his explicitly international political orientation means the second break with Marxist poetics. However, I suggest a continuity among these seemingly disparate periods, focusing on his long-held idea of diaspora and fluid self. His poetry has continuously represented diaspora and uneasy site of shifting identities structured by rigid constructions of race and class. Throughout his career, Hughes has represented a fluid self coming out of the experiences of black diaspora; it is a hybrid, interconnective racial identity that easily crosses the boundaries of time and space, and of individual and community. He globally linked struggles against fascism and colonialism abroad based upon the universal experience of diaspora. He has kept diasporan fluid self which challenges and destabilizes the nationalist and imperialist discourse that has grown dominant throughout the first half of the twentieth century. A close reading of his texts encourages a viewing of his works as a subversive performance within a changing political and cultural landscape.
손혜숙 ( Hye Sook Son ) 한국영어영문학회 2012 영어 영문학 Vol.58 No.1
My essay aims at illustrating Whitman`s homosexual vision of utopia with a close reading of his representative homosexual text, Calamus. His expansive self is based upon his intimate contact with the world and is almost always drawn to a wider vision of community in which different individuals share the locus of commonness and reach beyond their empirical boundaries. While foregrounding the contingent and the singular, Whitman forges bonds with other people through a series of ecstatic moments that carry us into the public sphere and common interests. Contrary to the current Whitman studies, his homosexual text doesn`t repress contingency in order to celebrate the universal, but fully develops the commensurability among diverse historical agents. Whitman knows well the social taboos and inhibitions at the time of national crisis and expansion, but keeps imagining the world where homosexuality plays a central and significant role in founding a democratic solidarity and achieving a desirable social structure. His ideal of America is not a deferred wish for the future, but a concrete vision that can be achieved here and now, realized by the spontaneous bonding and instant attraction among free men. Instead of interpreting history or suggesting practical alternatives, he keeps questioning the dominant ideologies and the given orders of social control, and suggests a free and open relationship among men where no exterior power or mediating other intervenes. His utopian vision is radical as well as ideal, in that it rejects the interventions of the power structure and its institutions and courageously inscribes his homosexuality in the process of writing about and reading his contemporary America. As a predecessor of a homosexual utopian vision of America, Whitman has inspired many later poets, showing a possibility of infusing a homosexual identity into a radical imaging of the nation and its future.