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Filth and the Novel: Flaubert, Defoe, and Dickens
신희섭 19세기영어권문학회 2014 19세기 영어권 문학 Vol.18 No.1
This essay observes, first of all, the way in which filth and pollution in modern realist fiction constitutes a negative slant of imagination in which daily commerce and activities spell out metaphorically and literally a degenerative process of human life mired in contagion or moral depravity. It is in forestalling such a negative process that the modern novel, on the other hand, mirrors an extending network of sanitary or disciplinary services as the narrative frame in depicting modern life. In dealing with this interventionary view of the novel, the essay also examines how the image of filth and abjection is deployed in a way that echoes medical or administrative theories and technologies of sanitary reform. For instance, Dickens’ use of filth as an index to cultural empathy to be circulated and exchanged in the city offers an intriguing parallel to Chadwick’s administrative vision of urban sanitation. This parallel is important, since it alludes to the site of everyday life as the frontier of representation in which signs of abjection or contamination signal conflicting paths of storytelling. The essay tries to explore these conflicting accounts of filth by dealing with a selection of novels by Flaubert, Defoe, and Dickens.
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Invoking Nostalgia for Urban Youths: A Reading of George Lucas’ American Graffiti
신희섭 문학과영상학회 2011 문학과영상 Vol.12 No.1
This essay, first of all, aims to explore interventionary aspects of remembrance in the urban context, ways in which one’s memory of the city challenges uniform, mechanical qualities of urban life by engendering a space unique to one’s own desires and wishes. As opposed to the perpetual degree to which urban inhabitants remain caught in a web of shared rules and signs, fusing them into an impersonal operation of skills and manipulations, urban memories engage in a creative spatial practice by means of which an unremarkably cramped neighbourhood where we grew up becomes the focal point of descriptive expansion and narrative inventions. The mapping of this “imagined” territory in conversations, dreams, and stories bears testimony to an eruptive narrative potential inherent in the act of remembrance. It is no surprise that this narrative potential lends itself to a nexus of profitable investment coveted by various industries from film entertainment to popular music. Films allow us to leave our everyday space momentarily, and plunge into their carefully reconstructed events and places lost in the past. It is thus equally predictable that recent cultural or film critics capitalize on the Hollywood reconstruction of the past as a deplorable case of cultural or ideological exploitation. They argue that spectacular, fully restored images of the past are detrimental to our critical perception, as they gradually and persistently filter out the challenging dimension of our memories recounted above. This essay then tries to question their view by offering a reading of George Lucas’ box-office hit American Graffiti (1973) that is often viewed as an ominous example of postmodern “aesthetic colonization”. In contrast to the critical view, the essay argues that the film is quite effective in demonstrating its interventionary capacity as a nostalgia film to personalize the city space.
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Considering Issues of Vision in Panoptical Representation: Bentham, Bender, Fried, and Mayhew
신희섭,Shin, Hi-Sup The Korean Society of Art Theories 2009 미술이론과 현장 Vol.7 No.-
This essay aims to develop a critical approach of interpretation in examining the panoptical condition of representation that is said to permeate the tradition of modern realism in novels and paintings. In defining this approach, I am interested in the problem or inability of panoptical representation to tell a coherent story of solitude(solitary confinement, isolation, self-absorption, etc.) in a range of texts from prison documents to paintings and novels, and also what might occasion such an inability including social, material, or stylistic contradictions and conflicting epistemological angles. This task potentially anticipates a trajectory of readings and investigations that cuts through the history of panoptical representation, which is outside the scope of this essay. In this writing, I will engage in a series of debates with what I consider as major theories and views of panoptical representation offered by Jeremy Bentham, John Bender, and Michael Fried. Based on this, I will formulate a conceptual or methodological frame of discourse that would envisage an anti-panoptical approach of interpretation. As an attempt to validate this formulation, I will offer a reading of Henry Mayhew's Criminal Prisons of London and Scenes of Prison Life(1862), a case of panoptical representation that produces a peculiar sense of ambivalence while accounting for sites of penal solitude.
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신희섭 한국영어영문학회 2005 영어 영문학 Vol.51 No.5
It is often argued that Our Mutual Friend, Dickens’ last completed novel, reflects, if not intensifies, the author’s increasing social pessimism that is said to permeate his later works including Bleak House and Little Dorrit, a negative ethos that stands in sharp contrast to his earlier works charged with boisterous laughter and vigorous expressiveness. The lively networks of communal interactions and responses, which often appeared in his earlier novels as a useful antidote to a dehumanizing tendency in society for instrumental or institutional modernization, become exhausted in the last novel, replaced as they are by a mechanical world of money investment. The main narrative thus appears to bespeak the world of financial investment, whose extensive scope interweaves all levels of society, and tolerates no behaviors or intentions outside its cyclical movements fuelled by a desire for profit. However, my view is that such a dominance of the capitalist market is punctuated by intriguing signs of crisis cropping up at both narrative and figural level. In my opinion, these signs are brought on by the way in which Dickens’ use of language in sustaining the market cycle takes on a mechanical or surreal tone tinged with existential futility, one that evokes a growing sense of failure in its referring to the world outside. I want to argue that this linguistic peculiarity echoes a similar sense of crisis laden in the complacency and greed of the mid-Victorian financial market, which would eventually evolve into an alarming prospect of a financial crash. Seen in this way, his unique use of language, while appearing to correspond with the overall landscape of financial speculation, is, in fact, critical of its cyclical patterns. In what follows then, I want to salvage such a unique “deconstructive” strategy of expression from what other commentators commonly consider as hints of pessimism in Dickens’ writing; a strategy that not only discloses the sense of illusoriness in the world of money investment, but also, more importantly, paves the way for a different direction in the narrative, one that gravitates towards the animating force of human experience extending beyond the financial market.
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