『킨드레드』와 『네이티브 스피커』에 재현된 악의 보편성

정순국 미국소설학회 2022 미국소설 Vol.29 No.1

The purpose of this paper is to examine the universal cause of ongoing racial conflict by comparing Octavia Butler’s Kindred and Lee Chang-rae’s Native Speaker. First, this paper will simultaneously deal with the usefulness of ‘time travel’ and the ‘spy’ as narrative devices in terms of content and formality. In fact, Kindred borrows the form of a fantasy novel, but it is not fanciful at all nor does it stimulate fantasy. Second, this paper will examine what values and relationships they undermine in contemporary society while exploring the problem of a single identity being embedded. If ‘time travel’ and the ‘spy’ are narrative devices that portray the reality that white-centered society is working as shackles, the identity given to social minorities is nothing more than a restraint that suppresses the freedom of choice. Third, I will introduce the ways in which a single and inclusive identity undermines the cultural, economic, and political diversity of individuals, and how this individual pluralism can be combined with a communal identity. If contemporary society still discriminately recognizes and treats individuals, it is necessary to consider the various characteristics and pluralistic relationships of individuals as important components of society. To that end, this study reminds us of the value of people as beings that we must consider before constructing identities related to individual groups, nations, and races.

『빌러비드』와 『더 리더』에 나타난 수치심의 사회적 역할

정순국 건국대학교 GLOCAL(글로컬)캠퍼스 스토리앤이미지텔링연구소 2023 스토리&이미지텔링 Vol.25 No.-

This paper attempts to examine the social role of shame through Toni Morrison's Beloved and Bernhard Schlink's The Reader. As both novels portray shyness, embarrassment, guilt, and shame as beinig inherently linked to racism and totalitarianism, this paper will briefly introduce these emotions and discuss why such ties exist. The focus will then shift to the events in each novel that are presented as embarrassing and shameful behaviors, and the impact of these emotions on individual dignity and social relations will be explored in detail. Moreover, the necessity of overcoming shame will be investigated, and the relationship between sympathy and empathy will be examined in the process, ultimately concluding how shame is closely linked to the survival environment of existence. The main objective of this paper is to analyze the social role played by human emotions, particularly shame, and the personal and social harm caused by its omission. Therefore, it is necessary to examine why this emotion functions or fails to function. Beloved and The Reader provide a lens through which to analyze the role of such emotions from various perspectives and consider their significance in relation to sympathetic and empathetic actions. Just as reason cannot exclude emotions, rational judgment cannot be completely separated from emotional reactions that operate within the cognitive context. To that end, both of these novels poignantly reveal that the emotion of shame is acutely linked to human values and the survival environment of existence. 이 논문은 수치심이 행하는 사회적 역할을 토니 모리슨의 빌러비드와 베른하르트 슐링크의 더 리더를 통해서 고찰하려고 한다. 먼저, 부끄러움, 창피함, 죄책감, 수치심에 대한 논의를 소개하고, 이런 감정들이 어떻게 두 소설에서 비판적으로 다루는 인간의 폭력성 요컨대 인종차별과 전체주의와 연결되는지 검토할 것이다. 둘째, 각 소설에서 창피하고 수치스러운 행동으로 제시되는 사건을 중심으로, 그것이 개인의 존엄성과 사회적 관계에 미치는 영향력을 비교적 상세히 다룰 것이다. 셋째, 왜 수치심을 극복하는 것이 필요하고, 이 과정에서 동정과 공감의 관계를 다루면서, 수치심이 어떻게 존재의 생존 조건과 밀접하게 연결되는지 검토하고 마무리하려고 한다. 이 논문의 주요 논제는 인간의 감정 특히 수치심을 비롯한 감정이 수행하는 사회적 역할과 그것이 무시될 때 발생하는 개인적, 사회적 해악을 분석하는 것이므로, 수치심이 작동하지 않는 이유를 고찰할 필요가 있다. 빌러비드와 더 리더는 이런 감정의 역할을 다양한 각도에서 분석하고, 공감과 행동과의 관련성을 고려하여 그 의미를 파악할 수 있는 소설이다. 합리적인 이성이 감성을 배제할 수 없는 것처럼, 타인과의 관계 그리고 인식적 맥락 안에서 작동하는 감정적 반응으로부터 이성적 판단을 완전히 분리할 수는 없다. 두 소설은 특히 수치심이 인간의 가치와 생존 환경과 밀접하게 연관되어 있음을 분명히 보여주고 있다.

급경사지 비탈면 범용보강공법연구

정순국 대한토목학회 2013 대한토목학회 학술대회 Vol.2013 No.10

오분설교:신앙의 3대 요건 -요 3:16-21-

정순국 신학지남사 1965 신학지남 Vol.32 No.2

외곽지 개발하여 부도심권 형성을 : 공중변소와 아동놀이터 설치부터 할터

정순국 대한지방행정공제회 1970 도시문제 Vol.5 No.9

현대산업개발(주) 경부고속도로 동이-정성간 선형개량공사 현장

정순국 한국콘크리트학회 2002 콘크리트학회지 Vol.14 No.3

괴물의 언어: 다문화시대의 프랑켄슈타인과 드라큘라

정순국 한국영미문화학회 2014 영미문화 Vol.14 No.2

Monsters cannot speak. They have been objectified and represented through a particular concept ‘monstrosity’ that renders the presence of monsters effectively simplified and nullified. In contemporary monster narratives, however, the site of monsters reveals that they could be the complex construction of society, culture, language and ideology. As going into the structure that concept is based on, therefore, meanings of monsters would be seen to be highly unstable. When symbolic language strives to match monsters with a unified concept, their meanings become only further deferred rather than valorized. This shows the language of monsters should disclose the self-contradiction inherent in ‘monstrosity,’ which has made others―namely beings we define as ‘different’ from ourselves in culture or physical appearance―embodied as abject and horrifying monsters. Unable to be understood, accepted, or called humans. I analyse Frankenstein and Dracula that firmly converge monstrous bodies into a symbolic meaning, demonstrating how this fusion causes problems in the multicultural society. I especially emphasize the undeniable affirmation of expurgated others we need to have empathetic relations with, because their difference, unfamiliarity, and slight divergences are likely to be defined as abnormalities. In the multicultural society, thus, we must learn to embrace diversity, while also having to recognize there are many others that have been thought of as monsters; ironically enabling us to think about an undeniable imperative of being responsive to other people. In this respect, the monstrous inhuman goes to the heart of the ethical undercurrent of multiculturalism, its resolute attempt to recognize and respect someone else’s difference from me. A focus on empathetic relations with others, thus, can strengthen the process of creating social mechanisms that do justice to the competing claims of different cultural groups and individuals.

‘홀로코스트’의 서사의 한계와 스미스의 『거울 속에 반영된 분노』에 제시된 치유 서사의 가능성

정순국 비교문화연구소 2016 비교문화연구 Vol.43 No.-

토니 모리슨의 『재즈』에 나타난 노년의 의미

정순국 건국대학교 GLOCAL(글로컬)캠퍼스 스토리앤이미지텔링연구소 2019 스토리&이미지텔링 Vol.18 No.-

I intend to delve into the signification of aging that is recognized but not expressed clearly in Toni Morrison’s Jazz. If the physical weakening consistently configured by Morrison has in fact something to do with the characters’ sense of loss, especially Joe’s, aging would not stick to physical degradation or incompetence. Joe’s physical relationship with Dorcas thus has to challenge any mention and implication concerning the decline of his sexual desire, which is supposed to be caused by aging. It can be said from this context that Joe’s desire for Dorcas takes on the form that makes his insatiable gratification achievable and at the same time unachievable. Maybe, we could not understand what Joe actually wants to restore and possess. It is not because we can not assume what his desire is likely to be, but because we have to understand his sense of deprivation caused by the separation from his mother. He could not have realized his love for his mother until Dorcas was killed. The obsession with the object of lost love culminates in the murder of Dorcas and secretly links itself to other losses. That's why so many ‘same but different losses' in Jazz are repeated through the narratives, conversations and consciousnesses of the characters. The narratives and consciousnesses of both the characters and the implied author about the murder of Dorcas, which has been mentioned from the beginning of the work, embody the strong messages, albeit slowly, concerning personal and social issues. 필자는 토니 모리슨의 『재즈』에서 인식되고 있지만 분명하게 표현되지 않는 노화의 의미를 탐구하려고 한다. 모리슨에 의해 지속해서 형상화되는 육체적인 허약함이 사실은 등장인물 특히 조의 상실감과 관련되어 있다면, 노화의 의미를 단순히 육체적인 힘의 쇠퇴 또는 기능 저하와 연결할 수 없기 때문이다. 조의 도카스와의 육체적인 관계는 노년기에 생긴다고 여겨지는 성적인 욕망의 감소를 암시하는 편견과 무기력한 흑인을 규정하는 언어 행위에 도전한다. 이런 맥락에서 조의 도카스에 대한 욕망은 충족되지 않는 만족을 성취 가능한 동시에 성취 불가능한 형태로 표상한다. 우리는 조가 실제로 회복하고 소유하고 싶은 것이 무엇인지를 이해하지 못할 수도 있다. 조가 지닌 욕망의 형태를 추정하지 못하기 때문이 아니라, 어머니로부터의 분리가 일으킨 상실감을 이해해야 하기 때문이다. 그는 도카스가 죽고 나서야 어머니에 대한 사랑의 의미를 온전히 자각하는 것처럼 보인다. 상실한 사랑의 대상에 대한 집착은 도카스의 살인으로 절정에 이르고 자신의 정체를 또 다른 상실과 은밀히 연결한다. 『재즈』에 수많은 ‘같지만 다른 상실’이 서술, 대화 그리고 의식을 통해서 반복되는 이유이기도 하다. 작품의 초반부터 언급되고 있는 도카스의 살인으로 촉발된 등장인물과 내포작가의 서술 그리고 그들의 의식을 통해서 폭로되는 개인과 사회 문제는 강력한 메시지를 구체적이지만 서서히 형상화한다.

괴물의 언어: 다문화시대의 프랑켄슈타인과 드라큘라

정순국 ( Sun Kug Jung ) 한국영미문화학회 2014 영미문화 Vol.14 No.2

Monsters cannot speak. They have been objectified and represented through a particular concept ‘monstrosity’ that renders the presence of monsters effectively simplified and nullified. In contemporary monster narratives, however, the site of monsters reveals that they could be the complex construction of society, culture, language and ideology. As going into the structure that concept is based on, therefore, meanings of monsters would be seen to be highly unstable. When symbolic language strives to match monsters with a unified concept, their meanings become only further deferred rather than valorized. This shows the language of monsters should disclose the self-contradiction inherent in ‘monstrosity,’ which has made others―namely beings we define as ‘different’ from ourselves in culture or physical appearance―embodied as abject and horrifying monsters. Unable to be understood, accepted, or called humans. I analyse Frankenstein and Dracula that firmly converge monstrous bodies into a symbolic meaning, demonstrating how this fusion causes problems in the multicultural society. I especially emphasize the undeniable affirmation of expurgated others we need to have empathetic relations with, because their difference, unfamiliarity, and slight divergences are likely to be defined as abnormalities. In the multicultural society, thus, we must learn to embrace diversity, while also having to recognize there are many others that have been thought of as monsters; ironically enabling us to think about an undeniable imperative of being responsive to other people. In this respect, the monstrous inhuman goes to the heart of the ethical undercurrent of multiculturalism, its resolute attempt to recognize and respect someone else`s difference from me. A focus on empathetic relations with others, thus, can strengthen the process of creating social mechanisms that do justice to the competing claims of different cultural groups and individuals.