역사소설로서 『두 도시 이야기』의 성취

장남수(Nam-soo Chang) 한국영미문학교육학회 2009 영미문학교육 Vol.13 No.1

The purpose of this paper is to examine Charles Dickens's A Tale of Two Cities as a historical novel. The historical novel aims, according to Georg Lukács, at "the portrayal of a total context of social life." The work in question, however, falls short of this ideal, which mainly comes from Dickens's evasive attitude to the social upheaval and his distrust of the revolutionary mob. The 'failure' of this work is deeply related to Dickens's sense of purpose for preventing revolutionary disarray in the Victorian England. Interestingly, A Tale of Two Cities is published between Little Dorrit and Great Expectations, two of his great masterpieces. It seems as if he willfully turned away from the creative modes of imagination that made his great works and turned instead to popular formulas including a warning to the ruling class as well as a theme of self-sacrifice. The underlying motives for these changes of interest are not easy to ascertain. A probable 'answer' would be his worries about the deepening unrest of Victorian society, which looked similar to French society just before the Revolution. However, the writer's intention to waken his contemporaries from the torpor of indifference and inhumanity nearly ends in undermining this work owing to repetitive tendency to resort to abstract generalization rather than concrete examination as well as dichotomous approach to the systemic change and the personal one. The conclusion of this work shows Dickens's emphasis on the personal change through love and self-sacrifice as a solution. But Carton's self-sacrifice gives an additional ambiguity to this work, because we can find in his death not only transcendence of but also attachment to his self or ego. The insoluble opposition between individualism and collectivism also damages the work's achievement.

돔비의 프라이드가 지닌 아이러니

장남수 ( Chang Nam-soo ) 대한영어영문학회 2006 영어영문학연구 Vol.32 No.2

This paper aims to examine the social features of Dombey’s pride in Dombey and Son. His pride has the following characteristics: the reduction of the human relations to business transactions, an absolute belief in the power of money, the utilitarian way of thought, and the reified consciousness, all of which comprise the driving force and the dominating principle of the capitalist modernity. Dombey’s life enclosed in the “cold hard armour” of pride is blank to the tender feeling and the gentle sympathy. It is the fundamental irony of this work that Paul, the focal point of all Dombey’s ambition and design, suffers death by Dombey’s own pride, the ethos of which first deprives Paul of his mother, then of his wet nurse, the so-called “second deprivation,” and finally, drives him to death. Another ironical nature of Dombey’s pride lies in that his supposed negation of change with relation to the private sphere is antithetical to his representative character of the social change related to the public sphere. The irony of Dombey’s pride leads to the duality of the modernity, which is symbolized by the railway as the “life’s blood” and the “triumphant monster, Death” as well. (Ulsan University)

인슐린비의존형 노인 당뇨병환자의 엽산섭취와 혈장 호모시스테인 수준

장남수(Chang Nam Soo),김지명(Kim Ji Myung),박석원(Park Suk Won),조용욱(Cho Yong Wook),권오옥(Kwon Oh Oak) 韓國營養學會 2000 Journal of Nutrition and Health Vol.33 No.3

디킨즈와 근대성 문제: 감금된 삶과 해방된 삶

장남수 ( Nam Soo Chang ) 근대영미소설학회 2002 근대 영미소설 Vol.9 No.2

This paper aims to examine Dickens`s Little Dorrit terms of its relation with the modernity problem, focusing on the Blake`s distinction of `selfhood` (ie, the false self) from `identity` (ie, the genuine self). The individual as selfhood has the characteristics of egotistically following possessive impulses and embodying normalized selves; on the other hand, the individual as a creative identity makes possible a liberation from the narrow modern ego and the exploitative economy. The former, because of its weak individuality, Just follows society`s current opinion, even when senous disasters are looming ahead. But the identity empowered with the strong individuality might see the actual state of affairs differently and oppose the general collapse. Among the characters in Little Dorrit, Christopher Casby, Mrs. Clennam, William Dorrit, and Henry Gowan represent `selfhood,` and Amy Dorrit and Daniel Doyce represent `identity.` Such qualities as innocence and disinterestedness, creativity and individuality of the latter group contribute to the collaborative creation of the genuine `reality.` These are qualities generating and sustaining the humane space by liberated lives, while the former group`s characteristics can be summarized as ones enclosed in the modern capitalist economy. Now we are witnessing the coming of `society of control` or `empire` accompanied by the spread of standardization on an unparalleled scale, the cause and effect of which might be attributed to the general spread of normalized selves. If we tread in their footsteps, there is no way to conceive alternative ways of life, because, as said before, they have no ability to think differently. The significance of Dickens`s notion of the imprisoned life and liberated life lies in this context.

식량난 전후 북한이탈주민의 건강영양상태 비교

장남수(Chang Nam-soo),황지윤(Hwang Ji-yun) 韓國營養學會 2000 Journal of Nutrition and Health Vol.33 No.5

핍의 성장과 신사 이데올로기

장남수 ( Nam-soo Chang ) 현대영미어문학회 1998 현대영미어문학 Vol.16 No.2

Charles Dickens’s Great Expectations is a Bikhmgsroman centred on Pip’s change and development. Pip is originally shown as a ‘morally timid and very sensitive’ boy. He becomes possessed of the sense of guilt and of shame, which are proved to be worsened by his ‘inborn’ sensitivity. During his childhood his only support is Joe Gargery, who is almost completely powerless to protect Pip from his wife and snobbish surroundings. With his visit to Satis House, Pip hopes to be a gentleman and treasures the romantic love towards Estella. In pursuance of his dream he moves to London. But Pip’s increasing snobbery in London leads him away from the kind and warm, though limited, world of Joe and Biddy, and makes him just a man completely disillusioned with himself. Of course, we can’t underestimate the value of the ideal of gentleman, which comprises wholly pleasant and nice characteristics of Herbert Pocket, as well. But it is doubtless that, at least in case of Pip in London, the ideology of gentleman traps him and ruins him. Mag witch’s revelation of himself as Pip’s mysterious benefactor and Estella’s marriage with Bentley Drummle mean the collapse of Pip’s ‘great expectations’ and the end of his romantic love. After a series of symbolic deaths, Pip comes to have a genuine sympathy with Magwitch, so he takes his place by Mag witch’s side to the end. Now he overcomes his early sense of guilt and shame and then proves a true gentleman both ‘at heart’ and ‘in manner’ The final Pip is the person who combines the warm fellow feeling of Joe and Biddy with the intelligence, refinement, and aptitude of Herbert.

디킨즈, 사물화, 자본의 씨뮬라크르 : 『우리 둘 다 아는 친구』를 중심으로

장남수 ( Nam Soo Chang ) 근대 영미소설 학회 2005 근대 영미소설 Vol.12 No.2

Compared with his previous masterworks like Bleak House or Little Dorrit, Our Mutual Friend, Dickens`s last completed work catches the new features of the modernity in the wake of the development and growth of the Victorian capitalist economy. Actually, the presence of Veneering itself witnesses Dickens`s acute awareness of the transformation of society. Veneering, as his name suggests, exists as a thin surface. Every guest around him comprises an empty image devoid of the inner solidity. The reification of the modern period is generalized, together with the spirit of speculation in shares, to the point that everything becomes an image or a spectacle. Every person is reduced to a mere thing like a plate in the Veneering dinner party. Dickens`s method of caricature, as shown in this party, appears to be an efficient way of reflecting and evaluating the reality of fragmentation and abstraction. The full meaning of this work seems to become more vivid, once we are experiencing the so-called postmodern age. It is interesting enough to see, for example, the end of the stable bourgeois ego, as evinced through John Harmon and "the emergence of a new kind of flatness or depthlessness," as shown through the Veneering dinner party or the marriage life of the Lammles. Undoubtedly, this work cannot include the fully-blown postmodern reality. Dickens, however, is able to prefigure the problems of the contemporary society, which comes from the intensification of the 19th century reality.

『에드윈 드루드』에 나타난 재스퍼의 분열

장남수 ( Nam Soo Chang ) 한국현대영어영문학회 2010 현대영어영문학 Vol.54 No.1

The purpose of this paper is to examine the problem of two selves or split personality in Dickens`s last uncompleted work, The Mystery of Edwin Drood. The work begins with a description of John Jasper`s confused and opium-dreaming consciousness. The contrast of the oriental imagery with the grim Cloisterham cathedral in the opening suggests the theme of this work, which turns out to be Jasper`s division between "the outwardly respectable choirmaster" and "the inwardly hopeless opium-addict and murderer." Under the cover of respectability he is suppressing his dark ambition or aspiration, which asserts itself as an ardent love for Rosa Bud, fiancee of Edwin Drood. This "return of the repressed" also explains his murdering Edwin Drood, his only nephew. Jasper makes up a conspiracy to attribute the homicide to Neville Landless, a blackish English from Ceylon, who is re-created as the demonic and savage Neville according to Jasper`s scheme. He doesn`t hesitate to devise a plot and distort reality to serve his dark purpose. Jasper, compared with Bradley Headstone, another split character in Our Mutual Friend, receives no sympathy from readers, which not only explains his utter diabolism but reflects Dickens`s deepening pessimism. (University of Ulsan)

Charles Dickens의 사회비판 연구 -Little Dorrit의 Circumlocution Office에 대한 비판을 중심으로-

장남수 ( Chang¸ Nam-soo ) 현대영미어문학회 1992 현대영미어문학 Vol.10 No.-

This paper proposes a ‘realistic’ interpretation of the Circumlocution Office in Charles Dickens’s Little Dorrit, based on his critique of the industrial society whose essence lies in capitalism. The industrial society in question is the one that followed the capitalistic development after the Industrial Revolution and gave an unprecedented confusion and shock to contemporary people who were exposed to its ruthless logic. The fact that the background of this work is the capitalist society, becomes explicit from the observation that market image or an image connected with the commodity exchange pervades the entire work. Dickens’s representations of the Circumlocution Office, coupled with its linkage with various characters and events, contribute to the apt criticism of the Victorian reality. His satirical treatments of this Office do not merely point to the bureaucratic inefficiency or the feudal remnants. Rather, they point to the substantial inefficiency and anti-popularity of capitalism, which are understood from the popular standpoint.

인생의 영웅 또는 반영웅: 『데이비드 코퍼필드』연구

장남수 ( Nam Soo Chang ) 근대 영미소설 학회 2008 근대 영미소설 Vol.15 No.2