Maxine Hong Kingston 의 새로운 정체성 창조와 그 한계 : Tripmaster Monkey 를 중심으로

추재욱 한국강원영어영문학회 2000 영어영문학 Vol.19 No.1

Kingston in her Tripmaster Monkey tries to create a new identity in the post-modern and multi-cultural society, what is called the United States of America. Kingston underwent the turbulent 1960s when America experienced the great changes: the university students' revolutionary unrests, the Vietnam War despaired of, the assassination of J. F. Kennedy, the assassination of Martin Luther King, Jr, and the Neil Armstrong's landing on the Moon, etc. Among the sequent incidents, Wittman A Sing as a character searches for his new identity as a real American. Wittman thinks that the most effective way to serve his propose is to make a theater company named 'the Pear Garden Players of America'. As the name of the company suggests, he dreams that the theater play will be the first and foremost thing to put into harmony and reconciliation all the conflicts among people, white or yellow, or black. The identity Wittman Ah Sing has squired in the text is basically different from the one he had at first as a hyphenated Chinese-American. As a trickster figure, Wittman disturbs the solidly established society as Sun Wu Kong does the Heavenly order of Buddha in $quot;The Journey to the West World$quot;. Wittman eventually transforms himself into Chinese American without hyphen in between. At last he beta real American. This is possible because America is a melting pot which contains a variety of differences in the multi-cultures that multi-racial communities may create. Asian literatures, therefore, have their important role in changing a dogmatic America into a dynamic America. As Deleuze puts it, Asian-American literature $quot;no longer designates specific literatures$quot; of minorities in the United States, but $quot;the revolutionary conditions for every literature within the heart of geat$quot; Anglo-American literature. As a minor literature Kingston's novel, however, has Borne weak points in that it is not so easy for other Americans to understand. The novel is tightly weaved with Chinese myths and histories unknown to them. If the novel is read only among Chinese-Americans, the first purpose will not be served and the changing power will be lost.

수출중견기업 심층면접 애로요인 실태조사 사례연구

추재욱 한국무역학회 2013 한국무역학회 학술대회 Vol.2013 No.5

『뉴로맨서』에 나타난 인공지능 윤리의식에 대한 연구

추재욱 한국문화융합학회 2018 한국문화융합학회 전국학술대회 Vol.2018 No.6

1920년대 뉴욕의 재즈/문화 다시 읽기:『위대한 개츠비』와 『재즈』의 비교를 중심으로

추재욱,최혜란 한국비교문학회 2012 比較文學 Vol.0 No.57

Fitzgerald's Great Gatsby was published 67 years before Morrison's publication of Jazz in 1992. A closer look into the latter will reveal that Morrison subtlely criticizes the former in which we can get to know more of New York culture in the 1920s. It is likely that Morrison searches from Jazz the role and function of Afro-Americans' jazz which are quite different from those of the music in The Great Gatsby. In other words, Fitzgerald and Morrison understand the jazz music in the very different ways. The ways that they understand the music are reflected in their novels. Morrison seems dissatisfied with Fitzgerald's interpretation of the jazz music, and she insinuates in Jazz that the jazz has been being passed into Whites' in The Great Gatsby. Interestingly, many of the comparison points can be found between The Great Gatsby and Jazz, both of which deal with the same space of New York City, and with the same period of the 1920s. The features of the city in the period look apparent in the seemingly different two communities: Long Island where the rich reside and the Harlem where the poor blacks live. Although those who live in the two places seem to enjoy the New York culture together, the conflicts lie between the whites and the other whites, between the whites and the blacks, and between the other immigrants regardless of the ethnicity. Jazz was originally African Americans', but the music has been appropriated by the whites and become a symbol of pleasure and corruption. In Jazz, however, it becomes certain that the role and function of jazz are much different from those in The Great Gatsby.

Cultural Conflict and Compromise in New York City : Jazz, Our House in the Last World, and Native Speaker

추재욱 한국비교문학회 2011 比較文學 Vol.0 No.54

Toni Morrison's Jazz (1992), Oscar Hijuelos's Our House in the Last World (1983), and Chang-rae Lee's Native Speaker (1995) are literary works to reflect the cultural and political process of immigration in New York. Main characters in the novels are portrayed to struggle to survive and succeed in a new and unfamiliar environment, New York City. The city has been culturally and historically made by immigrants so that it shows diversity and heterogeneity of culture and ethnicity. Writers of minority literatures make great contribution to changing the conservative cultural society. Jazz vivifies the space where African Americans gained freedom through jazz music. Our House in the Last World shows that Cuban Americans or immigrants discovered their own space, that is, niches for the establishment of their own identity while an attempt to expand cultural and political space for minorities is made in Native Speaker. Introducing their ethnic minority cultures, those heterogeneous groups compete, compromise, negotiate, and create unique cultures, which still hold contestations within the cultures. The diverse sources of ethnicities have enriched the culture and literature of New York City. The process of making different spaces is that of cultural conflict and compromise to create new culture, ceaselessly destabilizing ‘stability' and stabilizing ‘disorder.’

The Aesthetics of Time and Space in The Matrix and Alice in Wonderland

추재욱 문학과영상학회 2006 문학과영상 Vol.7 No.1

아시아계 미국문학에 나타난 동물성과 유목적 주체에 대한 연구―킹스톤 소설을 들뢰즈적 관점에서 읽기

추재욱 한국현대영미소설학회 2003 현대영미소설 Vol.10 No.1

아시아계 미국문학에 나타난 동물성과 유목적 주체에 대한 연구 : 킹스톤 소설을 들뢰즈적 관점에서 읽기 Deleuzian Reading of Kingston's Novels

추재욱 한국현대영미소설학회 2003 현대영미소설 Vol.10 No.1

Asian minorities had a little role in the huge multiplicity of American society. They were simply descendents of immigrants from minor nations who were considered as a labour force. However, the rise of literary works by minority descendants from Japan, China, and Korea started with the promotion of the minorities' status in America, which in return has prompted the minority writers to produce more literary works. Among other singularities in the works, the distinguishing feature appears as a metamorphosis from man to animal or to something like what is associated with a figure of the half man and half animal as in myths or paintings. Why do such human figures appear in the literary texts? This question leads us to think over the role of minorities and their works. Their positive role does rarely surface but their virtual capability functions to make the huge American multiplicity undergo a dynamic change. That is, the molecular movement made by the minorities is cracking-up the molar norms of the white-oriented American society so that the society cannot but receive the change of norms in the white dominant cultures. Eventually the movement has the momentum to build a new America. Monkey-becoming and stork-becoming show good examples of main characters in transformation who contribute to the building of new society.

로렌스의 ‘미국성’에 대한 연구: “말을 타고 떠난 여인”을 중심으로

추재욱 한국문화융합학회 2018 문화와 융합 Vol.40 No.1

It is curious to know why America and its land had interested D.H. Lawrence even before he landed on it. He read American writers ’books; those of Nathaniel Hawthorne, Herman Melville, Walt Whitman,etc,. It is certain that he related qualities of American literature to itsplace and landscape, in particular, the Southwest of America like Newand Old Mexico not only because the area was located away fromthe Eastern American cities like New York, Boston, Washington D.C.and others, but also because it had preserved its unique and primitiveculture of the indigenous people and Mexican people. For Lawrence,American was a symbol of liberty and freedom while he believed thatEngland and Europe were already corrupted by their old tradition,culture, and religion, all of which had strict and stubborn doctrinesthat Lawrence could not stand any more.Therefore, he was willing to move to the United States in 1922 ashe was invited by Mabel Dodge Luhan. And while staying at Taos formore than two years, he wrote “ The Woman Who Rode Away. ” Thisstory is Lawrence ’ s attempt to test whether he realizes what he hadlonged to hold in his heart and mind “ IT ” in his Studies in ClassicAmerican Literature . IT may be what he has thought of as Americanness,which is unique and different from something European and English.Introducing a white woman ’ s exploring into a primitive land of aNative tribe, Lawrence ’ s story subtly shows what IT is, how IT works,and why IT is important.

『프랑켄슈타인』에 나타난 괴물의 의미를 다시 생각하기: 자연과 과학의 경계에서

추재욱 한국영미문화학회 2009 영미문화 Vol.9 No.3

Science is a study of nature, so the object of science is the nature whose secret particulars are revealed by scientific experimentation. Frankenstein is a young scientist who has a strong desire to know “the causes of life” and “the principle of life” and to create a human creature for himself. There are diverse interpretations of the monster that Frankenstein created. In this paper, the significances of the ugly creature of deformity have been considered from the viewpoint that he is the result of scientific experimentation with nature. Even though Frankenstein's dream to create human creature has been realized, he acknowledges that his attempt to challenge human life has led to the disastrous catastrophe. The monster subtlely provokes a sensation of terror from those who see him. Fear possesses those who watch him. According to Edmund Burke, the sublime emotion comes from the fear of pain and death. Even though the monster is a part of scientific achievement, he still remains a part of nature. The sublimity with which Mont Blanc positively implicates itself is revealed in Frankenstein's monstrous creature in a way. As can be seen in the last part of the novel, however, he returns to the nature where he comes from by setting himself on fire. In a sense, Frankenstein's monster is a creature in between nature and science. Science is a study of nature, so the object of science is the nature whose secret particulars are revealed by scientific experimentation. Frankenstein is a young scientist who has a strong desire to know “the causes of life” and “the principle of life” and to create a human creature for himself. There are diverse interpretations of the monster that Frankenstein created. In this paper, the significances of the ugly creature of deformity have been considered from the viewpoint that he is the result of scientific experimentation with nature. Even though Frankenstein's dream to create human creature has been realized, he acknowledges that his attempt to challenge human life has led to the disastrous catastrophe. The monster subtlely provokes a sensation of terror from those who see him. Fear possesses those who watch him. According to Edmund Burke, the sublime emotion comes from the fear of pain and death. Even though the monster is a part of scientific achievement, he still remains a part of nature. The sublimity with which Mont Blanc positively implicates itself is revealed in Frankenstein's monstrous creature in a way. As can be seen in the last part of the novel, however, he returns to the nature where he comes from by setting himself on fire. In a sense, Frankenstein's monster is a creature in between nature and science.