버나드 맬라무드의 『두빈의 생애』 연구 : A Study of Bernard Malamud's Dubin's Lives 정체성의 추구를 중심으로

尹孝允 弘益大學校 東西文化硏究所 1998 東西文化硏究 Vol.6 No.-

Abstract The quest for identity is the theme of this novel about the Jewish-American biographer who examines minutely the lives of others. Although Jewishness is not an important factor, the Jewish elements are still related to this theme. For the hero comes to learn in the end to live the life of moral responsibility that encompasses the need of others, thus confirming the author's continuing concern about humanity. Possessing a number of selves, Dubin wants to embrace American ideals. His desire for an intimacy with nature is interpreted as the desire of constructing an American identity: Thoreau is the hero's mediated desire. Hard as he tries, however, he finds it difficult to acquire the self-reliant, spontaneous identity of the nature-lover who derives spiritual truth and renewal from his communion with the organic world. The biographer, while writing the life of D. H, Lawrence, tries to embrace different ideals of modem American mainstream ideology. He comes to know Fanny Bick, the hippie-styled girl embodying Dubin's desire according to Lawrence. The hero's meeting of Lawrence and Fanny represents 1970's sensibilities that emphasize the physical and feeling side of the modem man's identity. The Lawrentian persona as the young woman's lover, however, contrasts sharply with the personality of the English novelist and reveals the gap that separates the biographer's aspiration from the concealed Jewish identity. The novel is more the anatomy of a marriage than the story of a love affair as the relationship with Fanny causes him as much pain as pleasure. From the very beginning the biographer is torn between his self-glorification and his self-abasement. The ending affirms the hero's moral responsibility after the reconciliation of the different selves in him: Dubin no longer has the egoistical need to live more fully than the subjects of his biographies and acquires the courage to make difficult moral choices - between his wife, Kitty, and his lover, Fanny. It is true that the hero's psychic evolution is ambiguous because of the inconclusive ending. Dubin seems to enjoy the tension and the irresolution that comes from his mixed involvement with history and his immediate experiences. Still his quest for identity, ambivalent as it is, makes him especially complex, enigmatic and provocative among the Malamudian heroes.

Pamela의 現代的 解釋

尹孝允 同德女子大學校 1982 同大論叢 Vol.12 No.1

Nabokov의 Transparent Things 硏究

尹孝允 弘益大學校 1986 弘大論叢 Vol.18 No.1

Vladimir Nabokov(1899∼1977), "a Russian by birth, an exile by necessity, and an American by adoption," is sometimes called a decadant, a master stylist, or an illusionist. The purpose of this paper is to examine his novelistic techniques as found in his 16th novel, Transparent Things. An attempt is made to compare this novel with biographical works in terms of pattern-making which turns out to be his dominant concern as an artist. Sound patterns such as alliteration and assonance, puns, anagrams are extensively examined as well as parody, which is another form of pattern-making in a larger context. The possibility of explaining these aspects of his fiction from the viewpoint of Russian formalist tenets is entertained. His novels demand that the reader be wide awake to the various forms of pattern he has planted and to many themaitc "recurrences, correspondences, and coincidences" in the novels. The reader must be an active finder and maker of patterns himself to appreciate the novelist's artfulness in his magical artefice.

의식의 미학으로 읽는 Vladimir Nabokov의 소설

尹孝允 弘益大學校 東西文化硏究所 1994 東西文化硏究 Vol.2 No.-

After the danger of a self-referential novel with its solipsist tendency is pointed out, each of Nabokov's novels in English is considered from the point of content. The conflict between the claim that there is nothing in his fiction but the beauty of form and the claim that his fiction concerns itself with serious content may be solved by the aesthetics of consciousness. Nabokov's fiction is essentially the reflection of the author's consciousness in three ways. First, his fiction making is interpreted as a means of escape from time on the part of a mortal being conscious of death. Second, the patterning and ordering in the structure of his fiction point to the author's conscious act. Third, there is still another kind of consciousness in that the author is conscious that he is conscious of the limiting time and he is doing the conscious act in his fiction-making. The last consciousness is what makes Nabokov rigorously distinguish life's contingent existence from art's inhuman privileges. It is from this consciousness that his novels got peculiar moral nature and it is for this that he may be called a novelist for whom human values always come first.

Lolita의 구조

尹孝允 弘益大學校 東西文化硏究所 1996 東西文化硏究 Vol.4 No.-

AbstractThe supreme degree of order and control in Vladimir Nabokov's writing does not allow Aoflf's to degenerate into a pornographic novel. The quality in his fiction which draws the reader's attention to its status self-consciously and systematically is explained in terms of'ostranenie'(defamiliarization) and foregrounding - the key concepts of Russian Formalism and the Prague school of linguistics.The paper attempts to examine the foregrounding effects in the novel according to the different layers of the literary work as expounded by Roman Ingarden. He distinguishes not only such linguistic strata of sounds, words and narrative units but also such non-linguistic stratum of "represented objects." Accordingly, the categories examined here include 1) the play on words which involves the author's neologisms, compound words, homonyms, puns, etc., 2) literary allusions which make use of the tension between surface and latent signification, 3) parodies intended to make the reader aware of the literariness of the fictional elements, 4) the authorial intrusion to call attention to the artifictatious nature of the text, 5) the laying bare of the novelistic devices that prevents the reader from empathizing with the fictive world, and 6) the patterning of motifs, the recurrence of which attests to the presence of the author's firm controlling hand.The final layer involves the fictional world represented by this novel. Its peculiar metaphysical quality is best examined by questioning the morality of Humbert's action. It is possible to draw both negative and positive interpretations for his actions. The ambiguity in tone and intention on the part of the author turns this novel into a diabolical humor, making the reader shift perspectives continually by undermining the bases for psychological and moral judgement. Lolita may belong to one of the early major postmodernist texts in that it is a polyphonically delightful and polymorphously perverse work playfully deconstructing everything from love to truth, and (rom knowledge to being. The supreme degree of order and control in Vladimir Nabokov's writing does not allow Lolita to degenerate into a pornographic novel. The quality in his fiction which draws the reader's attention to its status self-consciously and systematically is explained in terms of 'ostranenie' (defamiliarization) and foregrounding - the key concepts of Russian Formalism and the Prague School of linguistics. The paper attempts to examine the foregrounding effects in the novel according to the different layers of the literary work as expounded by Roman Ingarden. He distinguishes not only such linguistic strata of sounds, words and narrative units but also such non-linguistic stratum of "represented objects." Accordingly, the categories examined here include 1) the play on words which involves the author's neologisms, compound words, homonyms, puns, etc., 2) literary allusions which make use of the tension between surface and latent signification, 3) parodies intended to make the reader aware of the literariness of the fictional elements, 4) the authorial intrusion to call attention to the artifictatious nature of the text, 5) the laying bare of the novelistic devices that prevents the reader from empathizing with the fictive world, and 6) the patterning of motifs, the recurrence of which attests to the presence of the author's firm controlling hand. The final layer involves the fictional world represented by this novel. Its peculiar metaphysical quality is best examined by questioning the morality of Humbert's action. It is possible to draw both negative and positive interpretations for his actions. The ambiguity in tone and intention on the part of the author turns this novel into a diabolical humor, making the reader shift perspectives continually by undermining the bases for psychological and moral judgement. Lolita may belong to one of the early major postmodernist texts in that it is a polyphonically delightful and polymorphously perverse work playfully deconstructing everything from love to truth, and from knowledge to being.

構造主義 接近方式에 依한 詩의 特性 考察

尹孝允 同德女子大學校 1983 同大論叢 Vol.13 No.1

블라디머 나보코프 소설의 설화 방식에 의한 전경화(前景化)

尹孝允 弘益大學校 人文科學硏究所 1998 人文科學 Vol.6 No.-

Vladimir Nabokov's novels are said to draw attention to their status as artifacts self-consciously and systematically. This is explained as the foregrounding on the linguistic dimension rather than on the referential dimension. The linguistic dimension may include the stratum of sounds in a literary work and that of meaning-units, that is, words in the text, as well as that of schematized aspects by which characters, actions and ideas in the novel reveal themselves. The paper concentrates on the schematized aspects of Nabokov's fiction, examining the foregrounding nature of the author's narrative devices. Parody is studied as the first of the narrative devices Nabokov uses to foreground the text on the narrative level. A repetition with difference to disturb the reader's perception of a given text, parody is an important concept in the contemporary self-conscious metafiction. It is noted that the author uses it not only on the level of outworn narrative techniques and themes but also on the level of literary genres and forms. The next section examines authorial intrusion as a device drawing attention to the novel as an artifact. The third section deals with the laying bare of narrative devices in connection with Nabokov's parenthetical method of description. The narrative techniques of skaz and retardation are also related to the concept of foregrounding in this section. The patterning of themes forms the last section of this paper. This is about the recurrences, correspondences and coincidences of various elements in his novels that make the reader conscious of the controlling hand. All these devices examined in the four sections help break the effect of fictional verisimilitude.

새로운 Reality의 追求 : John Barth and the Contemporary American Novel John Barth와 最近의 美國小說

尹孝允 新羅大學校 1977 論文集 Vol.5 No.-

In contemporary American novels we find a tendency toward absurdity, surrealism, parody and silence. Faced with exhaustion of possibilities in their story-telling, the contemporary novelists give up the task of representing realities of the world they live in. Instead they try to create a new order in their writings. Their endeavor to find a new order in their surrealistic novels, in their ultra-realistic novels of non-realistic novels of non-fiction and in their parody novels is understood as a search for a new reality. Part One and Two examines the American society as seen through the eye of contemporary novelists-how they are concerned with the idea of entropy and how they have given up representing realities which they think are continually outdoing their talents. Modern 'traditional' writers are brought into contrast by noting how successfully they were able to transform the sentiment of lost values into a value of are. In Part Three and Four, John Barth's novels, The Floating Opera and The Giles Geas-Boy, and his literary essay, "The Literature of Exhaustion", are analyzed to see how he attempts to create a new reality by employing an intellectual dead end against itself. The French New Novelists are dealt with in this context. The release from the limiting powers of environmnt is dangerous for the novelist in that his novel tends to be a mere linguistic play and he is kept from confident participation in life. However, it seems certain that the contemporary American novelist has renounced the pretense of making his novel a mirror for life and pseudo-realistic documents.

Realism과 小說

尹孝允 新羅大學校 1979 論文集 Vol.7 No.-

Traditionally the novel is said to have concerned itself with the representatin of real life. And we find literary critics who see the novel as a record of the process from appearance of the would to reality- to a recognition of the actual way of the world. At any rate, the novel seems to ahve an almost fatal relationship with realism. Realism, however, is a term very ambiguous and hard to define. To understand the term as used in literature, an attempt was first made to grasp the meaning to the world, real and reality. The second part of this paper examines realism as used in philosophy. Plato's conceptual realism was compared with philosophical nominalism of the Middle Ages. It was noted how Thomas Aquinas combinde these two opposing views of reality to give a listing influence on the western thoughts. Also, the changing views of reality from the common-sense school to modern linguistic philosophy were discussed with a view to preparing for the understanding of the similar development in the usage of literary realism. The following part traces realism as a literary movement in the 19th century France. It was pointed out, however, that realism as first used in literture was not a distinctive out, however, that realism as first used in literature was not distinctive literary school but a reactionary consciousness against the prevailing tastes of the ruling class in the second empire. Its distinctive features were later supplied by naturalism which was a second generation realism. Naturalism. emphasizing scientific techniques of observation and experiment, collapsed when the optimistic dream of science gave way to skepticism toward the end of the 19th century. The term 'realism' has proved to be such a useful word for the criticism of the novel that it refuses to die with naturalism. The fourth part deals with the idealistic realism in modern literature. The modern usage of the term is explored in connection with Henry James's 'intensity' and James Joyce's internal subjectivism. However, it should be noted that the contemporary realism does not reject exterior reality, which provides the novelist with a kind of springboard. This extended usage embracing both subjectivism and objectivism one risk: depriving the term of its meaning altogether. The realists' claim that they can reproduce real life is technically as well as philosophically impossible. The relationship between reality and the novel should not involve competition; the reality in the novel should not involve competition; the reality in the novel should be acknowledged as being different from the reality in every day life. For the world that the novelist deals with in his novel is the subjunctive conditional-he deals with imaginary events and characters for the sake of leading to a realistic view of human life. It is in this sense that all writers are realists.

John Barth의 The Floating Opera 硏究

尹孝允 同德女子大學校 1981 同大論叢 Vol.11 No.1