아동소설 속의 죽음과 성자의 고통: 『영원한 턱가족』과 『테라비시아 다리』의 경우

심경석 ( Kyung Seok Shim ) 미국소설학회(구 한국호손학회) 2009 미국소설 Vol.16 No.2

Both Tuck Everlasting and Bridge to Terabithia are distinguished by their masterful treatment of the issue of death. Babbitt`s novel is intertwined with such mixed genres as folklore, fantasy, and realism, which, when taken together, contribute to an unique atmosphere. Together with the extension of self, this somewhat philosophical novel successfully delves into the meaning of immortality, as is show by the families of Tuck and Winnie. In addition, the novel emphasizes a blurred demarcation between absolute good and bad and thus reveals the complexity of human life. Paterson`s work is concerned with realism unlike that of Babbitt. The author focuses on the harsh reality and the impact of his friend`s death on the young protagonist, Jesse, rather than the meaning of death and life that Babbit explores. The no-nonsense tough world and the weight of suffering that the young boy felt to the bone are presented vividly and remarkably. Furthermore, this work represents the boy`s delicate feelings and internal transformation reliably, which greatly enhances the novel`s artistic merit. Both novel tend to acknowledge the impossibility of childhood`s innocence and deny an existence of an ideal, safe place for children. However, they concur in comforting the reader despite their treatment of human`s ultimate suffering-death, by providing an optimistic vision in their conclusion.

한국전쟁 포로소설과 젠더, 모성주의, 국가안보

심경석 ( Kyung Seok Shim ) 한국영어영문학회 2012 영어 영문학 Vol.58 No.2

This paper explores how gender, sexuality, momism and national security are intertwined in the POW fictions of the Korean War, revealing the blurred demarcation line of the private and the public during the Cold War era. Works such as Night and Valley of Fire reveal the weakened manhood of the soldiers who were brainwashed or easily succumbed to the enemy during their imprisonment. The novels commonly attribute their weakness to materialism and spiritual corruption prevalent in the society, in addition to mass media including TV. Moreover, a social critic like Phillip Wily provokes the polemical idea of "Momism" which was ardently circulated among some male circles. In Manchurian Candidate, momism is integrated into incest and homosexuality, epitomized by Raymond and his mother. The novel illustrates how momism can be dangerous to national security and devastate the growth of manhood. Mrs. Iselin, a masculinized middle-aged woman, becomes a ``monster`` whose overweening desire for power overrides any maternal concern for her son. Such ``monstrosity`` exposes the danger of a woman who can castrate a man and manipulate a society. To a certain extent, the same tendency can be found in Turncoat and Night. Both novels reveal how the love of mother brings detrimental impact on boys who become prey to the communist`s brainwashing in the POW camps. In short, the POW novels betray society`s patriarchal concerns with women`s emerging power threatening its ideology.

' 순수 의식 ' 과 정보화 사회 : 영화 < 폭로 > 와 < 알라딘 > 의 타자 , 젠더 , 성애

심경석(Kyung Seok Shim) 문학과영상학회 2001 문학과영상 Vol.2 No.1

It has been widely expected that new technological innovations can foster democracy and even purge the world of war and violence. As such, a major character in the film of Disclosure declares that the advent of digitalized society can enable the human consciousness to relate to one another through pure consciousness which can be defined as freedom from gender, class, and race. However, the film eloquently illustrates the impossibility of such a dream. It further shows the adverse effects of the digitalized society and implies that anti-feminism and racism persist, which shatters the Utopian dream that human beings earnestly desire in the age of information. By the same token, Aladdin is crucial to understanding the Western society`s attitude toward the Other. The film was released right after the Gulf War, which broadcast media graphically conveyed as a digitalized image of war to the people throughout the world. The Disney film seems to be apparently non-ideological, but it is deeply embedded with the Orientalism that Edward Said refers to; the sexyal fantasy hat Western society cherishes is represented through half-naked ladies with veils, and the American belief in fortune is portrayed through the character Alladin, an ideal figure of self-reliance and of a rag-to-riches hero who is described as the savior of Princess and the kingdom. Further, the Arab people are portrayed as brutal and non-rational as s indicated in Said`s Orientalism. In fact, the film is a subtle criticism of the Arab world, while valorizing President George Bush`s new world order. Indeed, the utopian dream of pure consciousness that the information age is believed to create is an unfulfilled illusion in both texts.

잊혀질 수 없는 기억: 할리우드의 한국전쟁 재현

심경석 ( Kyung Seok Shim ) 영미문학연구회 2010 안과 밖 Vol.0 No.29

This essay proves that Hollywood`s treatment of the Korean War fully anticipates the filmic representation of the Vietnam War. In fact, the Korean war becomes the military and cinematic proving ground for the later conflict because of the strong affinities between the two wars. Such early Korean war films as One Minute to Zero, J Want You, and Retreat, Hell, have strong propagandistic nature within the formula of the war genre. However, the films still implicitly debate the nation`s commitment to the war. In particular, Sam Fuller`s Steet Helmet is remarkable for its explicit subversion of the convention. His new approach greatly influences the later major Korean War films like The Bridges at Toko-Ri, Men in War, Pork Chop Hilt, and War Hunt when they bring to the screen the war`s grim reality. They accomodate killing the refugees and civilians, the soldiers who are reluctant to fight for the nation`s questionable intervention of the war, the discrepancy between the government and the people looking at the war, internal conflicts among soldiers and officers, and racial problems., These issues are literally true of the Vietnam War. Indeed, Hollywood`s dealing of the Korean War is prophetic to another war in Asia.

월트 디즈니 만화영화 < 인어공주 > , < 미녀와 야수 > , < 라이언 킹 > 의 정치성과 순진성

심경석(Kyung Seok Shim) 문학과영상학회 2001 문학과영상 Vol.2 No.2

This paper explores gender, cultural identities, and social issues in the Walt Disney`s feature films such as The Little Mermaid, Beauty and the Beast, and The Lion King. Disney censored violence, sex, and politically sensitive issue to uphold their of creating a children`s heaven. Simultaneously, Disney could not ignore the films` commercial profitability. Graphic violence and other undesirable scenes for children make Disney`s idea of innocence questionable. Furthermore, the films respectively deal with feminism, multi-culturalism, and ecology in order to draw the audience`s attention. But such representations does not spill over the acceptable boundaries of the white middle class norms. The Little Mermaid subtly betrays its antagonistic attitude toward woman`s political dominance despite its apparent feminism. At the end of film, Ursula, who dares to challenge the power of King Triton, is literally submerged by the penetration of the ship`s poignant prow which symbolizes the phallus. Beauty and the Beast undoubtedly rejects the traditional masculinity and praises women who seek self-determination. The film seems to consciously make the audience familiarized with feminism. However, violence and sex are subtly internalized, and women are constantly victimized and harassed in the film. Finally, The Lion King is most controversial in its dealing of minorities, which are represented by hyenas, who are totally cast out of the Pride Land. They are condemned to suffer hunger. Their image is intertwined with minorities, and the gaining of power brings disaster, for they disrupt the circle of life, which is the ecological balance of the kingdom. Indeed, the films respectively endeavor to produce politically corrected films in order to avoid controversies. Nevertheless, their desire to satisfy perceived societal norms unwittingly resulted in an unexpected controversy, as is proves in those films.

최근 한국전쟁 소설의 확장과 변모

심경석(Shim, Kyung-seok) 원광대학교 인문학연구소 2015 열린정신 인문학연구 Vol.16 No.2

Despite the fact that Korean War fictions are published almost every year, the works are hardly scrutinized and are little known. This paper examines several recent Korean War fictions and explores their diverse themes and characteristics, which distinguish themselves from earlier Korean War fictions in the 1950s and 60s. In I Am the Clay and Hope in Hungnam, the Korean women characters emerge as dignified and sympathetic protagonists. Korean history and culture are also well explored. Both novels emphasize the characters’ strong possibility of redemption by revealing their humanity and charity under unbearable circumstances. They also characterize women’s voice, which has been repressed in the war narratives. Battle Songs delves into violent American culture in a mining town near Pittsburgh and its relationship to the Korean War. In addition, the novel reveals the futility of war, with scenes in which American soldiers kill each other. As such, the work is juxtaposed to the Vietnam War narrative, Deer Hunter and Platoon, in particular. War Babies is unique in its dealing with the children of prisoners of war, their struggle against the legacy of their fathers, and the evil nature of human beings. Its characters continue to be bewildered and even frustrated at the end of the narrative whereas the works above focus on redemption and healing. It implies that the troubling legacy of the POWs are too deeply embedded in the American society to rub out yet. It is noteworthy that these novels are created by non-Korean War veterans and their imaginary writing significantly contributes to enriching Korean War literature.

한국전쟁 포로영화의 변주

심경석 ( Shim¸ Kyung-seok ) 동국대학교 영어권문화연구소 2017 영어권문화연구 Vol.10 No.3

Hollywood POW films about the Korean War are reminiscent of Puritan captivity narratives; Puritan documents initially endeavored to record honestly their traumatic experience and its effects on their faith. However, as the interests of the popular audience toward which the narratives are directed became predominant, the propagandist value of the captivity became more apparent in the record. These accounts are surely an expression of the Puritans’ anxiety over acculturation by the American Indians. They also confirm their community ideology even though they betray self-doubt toward their moral superiority and exceptionalism. Likewise, Hollywood films depict the contemporary audience's response to the POW issue during and after the Korean War. They scrutinize POW’s cross- cultural encounter, and in particular those ‘unredeemed’ captives who chose to remain the ‘heathen’ land. These films undergo variations according to the public's changing views on these American “turncoats.” Both Prisoner of War (1954)and Bamboo Prison (1954) deny the soldiers' betrayal and their brainwashing. They focus on the prisoners' resistance and condemn the brutality of communists. These films emphasize that any collaboration is simply part of undercover activity and the reason for the prisoners’ refusal of repatriation is to continue their mission. However, Hollywood’s later POW cinema such as The Rack (1956)and Time Limit (1957) begin to reflect the society’s vulnerability and its anxiety and fear of the “Reds.” The films reveal more of the self than the other. They acknowledge the “turncoats’” collaboration and delve into the causes of their submission. They question their dysfunctional families and seemingly weakened masculinity. At the same time, the films reassert American “manifest destiny” and exceptionalism. These, and in particular Toward the Unknown (1956), attempt to heal the wounds of the American people who failed to win the war against the Asian ‘savage.’ Further, they try to restore and reaffirm cultural self-confidence and sense of superiority. Indeed, the Hollywood representation is “propaganda by Americans, about Americans, directed to Americans.”

성장, 전복, 구원, 이데올로기: 영미 아동 및 청소년 문학 교육

심경석 ( Kyung Seok Shim ) 한국현대영어영문학회 2008 현대영어영문학 Vol.52 No.4

해리포터 씨리즈: 유혹의 정체와 이데올로기

심경석 ( Kyung Seok Shim ) 영미문학연구회 2006 안과 밖 Vol.0 No.20

영재의 창의성 향상을 위한 아동문학 활용 방향 탐색

강지은(Kang, Ji-Eun),심경석(Shim, Kyung-Seok) 순천향대학교 인문학연구소 2018 순천향 인문과학논총 Vol.37 No.3

본 연구의 목적은 아동문학이 아동의 창의적 사고와 성향에 미치는 교육적 의미에 대해 검토하고 영재의 창의성 향상에 도움을 줄 수 있는 문학프로그램 개발방향을 탐색하는 것이다. 영재는 전형적으로 언어를 좋아하며 일반 아동보다 호기심이 강하고 상상력이 풍부하다. 아동문학은 호기심과 상상력을 풍부하게 하고지적, 정서적, 창의적 표현력을 경험하게 해주며 직접 경험하지 못하는 여러 상황을 접하게 하고 통합적 사고를 가능케 한다. 즉, 다양한 범위에 흥미를 갖는 영재가 아동 문학을 접하게 되었을 때 창의적 사고와 성향에 긍정적인 영향을 미칠것으로 기대된다. 그러나 아동문학과 관련된 국내 창의성 연구는 유아를 대상으로만 이루어져 왔고 영재를 대상으로 한 연구는 부족하며 초등학생까지도 연계가 되어 있지 않다. 창의성은 대부분 유아기부터 유년기(초등학생)까지 급속도로 성장한다. 따라서 영재성 있는 아동을 대상으로 문학 활동을 보다 체계적으로 계획하고, 연계성 있는 프로그램 활용 방향을 제시하고자 한다. The purpose of this study is to learn more about the educational meaning of how children’s literature affects children’s creativity and do theoretical exploration for the development of literature programs for helping gifted children’s creativity to be improved. Gifted children are typically fond of languages and more inquisitive and imaginative than ordinary children. Children’s literature enriches curiosity and imagination and allows them to experience intellectual, emotional, and creative expression. What is more, it allows children to safely encounter various situations without directly experiencing them and develop integrated thinking. Namely, when the gifted children who are interested in a wide range of subjects encounter children’s literature, it is expected to show effective results in their creativity. However, up to this point domestic studies related to and linking children’s literature and creativity have been made solely for infants not much for gifted children. Also most of the creative thinking process grows rapidly between infants and elementary school age students. So activities using literature as well as fairy tales should be planned more systematically for gifted children and developed more into the connective literature programs from infants to elementary school age children.