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탈식민주의 존재양태로서의 잡종성 (Hybridity) : 루시디(Rushdie)의 『악마의 시』(The Satanic Verses)를 중심으로
전수용 한국현대영미소설학회 1997 현대영미소설 Vol.4 No.1
The strong sense of racial or cultural identity, which is believed to have provided aggressive energy necessary in the anti-colonialist struggle, needs to be reexamined for its tenability in the post-colonial context. Representative advocates of the victims of colonialism such as Edward Said and Frantz Fanon reject the idea of fixed racial or cultural identity as an ultimate subject position from which to engage in anti-colonialist struggle. Even in the case of a radical activist like Fanon, it is valuable at the most as a strategic position to be occupied temporarily during a certain stage of the anti-colonialist struggle to energize it. In the postcolonial era, when the redeeming of one's pure cultural identity former colonizers is already an impossibility, Homi Bhabha's concept of hybridity, which can be summed up as a negotiable space existing between boundaries of identity, promises to be a much more useful tool in analyzing various problems of post-colonial cultures. This paper applies ramifications of the concept of hybridity to Salman Rushdie's work The Satanic Verses. Bhabha rightly calls Rushdie, who exists in the crepuscular cultural space between the subcontinent and Europe, a hybridizing writer, and provides a few brilliant insights into hybridizing moments in The Satanic Verses in both Nation and Narration and The Location of Culture. This paper examines the hybridizing instances in The Satanic Verses on a much fuller scale. And the examination reveals that the concept of hybridity may be deficient in providing belligerent energy for anti-colonialist struggle, but is a very productive tool for self-reflection and critical reexamination of the postcolonial self.
TV 드라마 <뿌리 깊은 나무>와 이정명의 원작소설: 한류 사극의 세계화 전망
전수용 문학과영상학회 2012 문학과영상 Vol.13 No.4
When T.V. dramas are consumed across national borders, they usually flow from a country with a large market and plenty of capital to countries with smaller market and weaker capital base. Before the 1980s, world media market had been predominated by the U.S. It is only in the 1980s that inter-Asian cultural exchanges began through import and export of TV programs, co-productions and exchange of performances. The Asian leader in the trend was Japan, and Korea as a late comer made a rather dramatic debut to the Asian media market in the mid 1990s. Critics often attribute the success of Korean dramas to their appeal to the common Confucian cultural heritage, audience fantasy of success, physical beauty, luxurious, and sassy life style, and sentimental nostalgia, and it is even argued that the common Asian identity created by the border crossing dramas is simply a consumer identity. However, I am arguing in this paper that TV dramas are capable of playing a more significant socially symbolic role in mediating the audience aspirations for a rational, progressive, creative, and democratic social order. And their appeal to some foreign audiences can be found in the universal appeals to these constructive values rather than in the fantasy fulfilment function. I use the TV Drama (Historical Faction) The Deep-Rooted Tree which was broadcast by SBS last year with success in Korea and was favorably received by the Middle-Eastern market as a case in point.
전수용 이화여자대학교 인문과학대학 영어영문학과 1976 Minerva Vol.- No.16
이 극을 보고난 관객이나 독자의 연민이 향하는 곳은 Malcom이나 Macduff가 아닌 Macbeth 자신이며, 그들이 거기서 보는 것은 Macbeth와 같은 운명을 진 자신들, 시간이 흐르면 끝나버릴 연극 속에서 한번 뽐내보는 초라한 배우의 모습인 것이다. 그렇다면 Shakespeare는 이 극을 통하여 Banque와 Malcom처럼 시간의 흐름에 따라 조화를 이루며 신중하게 행동하라고 충고하고 있는 것일까? 그렇다면 그는 극작가라기보다는 설교가가 되었을 것이다. 삶은 음향과 분노로 가득찬 의미없는 바보의 이야기라는 외침은 세익스피어 자신의 외침이다. 그리고 영원한 equivocator인 시간은 인간의 영원한 antagonist이며 시간의 간교한 equivocation은 인간의 어떠한 기지도 계교도 꺾어버리고 종국에는 시간에 순종하는 자에게만 그나마 주어진 짧은 생존을 허락하는 폭군이라는 비극적 느낌을 Shakespeare는 말하고자 했을 것이다.