“A Negro Can Change Colour”: Racializing Gender and Virtue in Thomas Southerne`s Oroonoko

( Jane Lim ) 한국18세기영문학회 2016 18세기영문학 Vol.13 No.2

This paper reads the racial blanching of Imoinda. Aphra Bohn`s African heroine, in Thomas Southerne`s Oroonoko as a performance based on cultural forgetting, to use Joseph Roach`s term. Specifically. Southerne`s play manifests the association of female virtue and white Englishness as a carefully constructed cultural legacy resting on Transatlantic crossing. Seven years after Behn published her novella. Southerne wrote a dramatic adaptation in which Imoinda turns into a white European woman. By removing the black female body. Southerne erases the history of master-slave rape in which black slaves were sexually exploited. Instead, be enables Imoinda to refashion herself as a Lockean individual who claims to own property in herself despite her servile status. In a period when race was yet a slippery and elusive category. Southerne renders whiteness the social fabric on which female virtue can be depicted. Yet Imoinda`s whiteness bears not only on the white women of England, but also on the black slaves of Surinam. Put another way. virtue is made recognizable through Imoinda`s white masking as a displacement of die black body; Imoinda, in this sense, embodies a creole whiteness. Imoinda whose bleached body travels in the Transatlantic world, signifies the turbulent yet intimate relationship between England and the American colonics. Southerne`s Imoinda, I argue, is the reincarnation of the dead, violated, and forgotten bodies of the black female slaves, making visible tire untold sexual history of the Transatlantic. In this sense, Imoinda is both black and white, self and ether, remote and near. Southern this taps into the discourse of gender, race, and virtue that becomes pivotal in die construction of English consciousness; the white female body becomes the site on which gendered virtue is performed, but only at the cost of erasing a Transatlantic awareness that in turn shaped the national imagination.

“A frightful spectre, to myself unknown”: The Speckled Monster and “Pox’d” Women in Lady Mary Wortley Montagu

( Jane Lim ) 한국18세기영문학회 2021 18세기영문학 Vol.18 No.1

Smallpox, an endemic famously dubbed the “speckled monster” because it left scarring and pigmentation on the skin, pervaded the literary imagination of seventeenth- and eighteenth-century England. In 1716, a year after she recovered from smallpox, Lady Mary Wortley Montagu wrote “Satturday: The Smallpox” as part of a series of Town Eclogues that probe the cultural condition of fashionable women. This paper attends to Montagu’s response to eighteenth-century “poxed” women whose diseased and disfigured bodies allegedly serve as a measure of the nation state’s physical and moral health. Specifically, I read the “poxed” woman not just as a victim of smallpox but an agent, author, and literary subject who channels that fatal disease as a means of self-recognition and self-fashioning. Montagu charges against accusations that smallpox produces a less than desirable female body. Rather, by giving the diseased body a poetic voice, she dissects the male gaze, a proto-Foucauldian “medical gaze” if you will, that posits dysfunctional women as the locus of public scrutiny and national fear. Through “Satturday,” Montagu presents Flavia, a fictional smallpox victim, as a discursive agent who posits the “poxed” woman as a site of transfiguration rather than disfigurement. The poem responds to smallpox not as a clinical illness but a cultural pathology that mirrors England’s toxic obsession with sanitizing the female body. Montagu thus deploys the smallpox discourse as a traumatic moment of self-estrangement that enables women to articulate their negotiation of interior and exterior self.

(Un)Becoming English: Performing Nationality and Motherhood in Daniel Defoe’s The Fortunate Mistress, or Roxana

( Jane Lim ) 한국영어영문학회 2020 영어 영문학 Vol.66 No.4

This article investigates Roxana’s turbulent national performance by attending to the relationship between Turkishness and Englishness expressed through the protagonist’s two names, “Roxana” and “Mother.” Arguing that Roxana’s impulse for cultural masquerade originates from her nebulous national heritage, this paper examines how the name “Roxana” generates vexing questions about the protagonist’s sense of social belonging. Specifically, I examine how Roxana’s political performance finds its most troubling expression through her negotiation with English motherhood. Roxana’s pseudo-Turkishness, rather than obscuring her Englishness, corroborates her identity as an English mother. Put another way, Roxana’s oriental naming was contingent on, not contrary to, an English model of discursive selfhood that Roxana refuses to express through her maternal body. She unmothers herself, even when her monstrous motherhood dubs her Englishness as unbecoming. That said, the article attempts to show why Roxana compulsively applies for a cosmopolitan citizenship that belies her nationality and race, further identifying how Turkishness and Englishness, two seemingly disparate identities, converge through Roxana’s maternal body. Roxana, then, posits the origin of Englishness not as engendered by Enlightenment thoughts of endoculturalism or the self-enclosed domestic household, but from the ruptures heralded by a cosmopolitan transaction of the maternal body posing as the Other.

Tracing the Oriental Origin of Gothic Fiction in Eliza Haywood`s The Adventures of Eovaai

( Jane Lim ) 한국18세기영문학회 2017 18세기영문학 Vol.14 No.1

This paper reads Eliza Haywood`s The Adventures of Eovaai (1736) as a proto-Gothic fiction that terrorizes female desire in its sexual, political, and social form. Written as an Oriental tale, Eovaai shares strikingly similar tropes and sentiments with Gothic fiction, anticipating the rise of “Oriental Gothic” that puts the female body on the cusp of despotic violence. Indeed, Gothic and Oriental romance share similar thematic, narratological, and rhetorical concerns that help update English thoughts on political bodies and gender relations. Specifically, by pretending to be an English translation of a Chinese translation, Eovaai creates a unique spatial and temporal space in which England`s present and Chinese prehistory overlap. Using the Oriental framework, Haywood employs the backdrop of supernaturalism and the politics of gaze to carve out a parasexual space in which female desire, passion, and curiosity are pitted against each other. Eovaai puts sexual and political consciousness at close proximity, tapping into discourses of legitimacy and political authority curiously performed over an illicit desire for the female body. Rather than reading Haywood as an amatory fiction writer whose romance planted the embryonic seeds of domestic realism, I focus on how Haywood, by using Oriental fantasy as a platform to dissect the politics of female passion, was working up a Gothic surge that would become so popular by the mid-eighteenth century. By examining how the Oriental and the Gothic imaginations work in concert to envisage boundaries of the English novel, this paper attempts to offer a more discursive and multivalent approach to the novel`s “rise,” putting translatability and extra-nationality as an expression of English imagination.

가십하는 여자들: 다니엘 드포의 『록사나』에 나타난 여성 가십, 출산, 비밀의 문화

임재인 ( Jane Lim ) 한국영미문학페미니즘학회 2017 영미문학페미니즘 Vol.25 No.2

This article analyzes the ways in which women control their bodies, intelligence, and subjectivity by employing a network of female gossips in Daniel Defoe`s Roxana (1724). Specifically, I focus on Amy`s role as a female “gossip”―one who attends a mother at child birth, according to its early modern etymology, and hence someone who colludes in establishing a collective female knowledge and experience that men are excluded from. Amy also spreads rumors, through “gossiping,” to corroborate Roxana`s multiple social performances, guises, and masquerades. The power of Roxana`s transformation, after all, lies in her ability to control and “reproduce” knowledge about her sexual history. Critics have paid scant attention to how Roxana and Amy manipulate the culture of childbirth to produce a body of secrecy. As gossips, they invent false stories and lies about their sexual past to navigate a male-centered political and economic nexus. Yet conscious that such a network is a turbulent one susceptible to surveillance, Roxana searches for new ways to refashion herself through imaginary gossip with the Quaker. By attending to scenes of labor and lying-in, I argue that the circulation of knowledge about women`s reproduction and the maternal body serves as a potent tool to construct female subjectivity.

오리엔탈 포로 서사에 드러난 자유와 성적 유혹의 협상: 페넬로피 어빈의 『숭고한 노예들』

임재인 ( Jane Lim ) 한국근대영미소설학회 2018 근대 영미소설 Vol.25 No.3

Written as an Oriental captivity narrative in which the European protagonists are held hostage by Muslim authorities, Penelope Aubin’s The Noble Slaves(1722) presents the struggle of white slaves pitted against a disparate world of religious and sexual assaults. Recent critics, focusing on the novel’s use of the captives’ distressed body, attempt to label Aubin either as a conformist to conventional gender ideology or a renegade who outlaws sexual normativity. Yet the gender dynamics of Aubin’s captivity narrative is nebulous to say the least, precisely because gender roles and sexual politics are reassigned in the Orient, a liminal space in which the protagonists’ cultural values are called into question. This article investigates the ways in which Aubin translates the seduction plot into what Laura Doyle terms the “liberty plot,” a narrative of freedom and natural birthright that becomes Saxonized, politicized, and racialized. Aubin’s captivity narrative bends the heterosexual norms of the British Empire by displacing European bodies against the backdrop of the Orient. Aubin thus taps into a metropolitan dialogue of transnational crossing and cultural encounter that ultimately helps Britons and Europeans imagine themselves as commanding sexual autonomy and liberty.

Extensive Necrotizing Fasciitis after Fat Grafting for Bilateral Breast Augmentation: Recommended Approach and Management

Chong Han Pek,Jane LIM,Hui Wen Ng,Hanjing Lee,Wei Chen ONG,Anthony Tun Lin Foo,Chwee Ming Lim,Mark Thong,Sandeep Jacob Sebastin,Thiam Chye LIM 대한성형외과학회 2015 Archives of Plastic Surgery Vol.42 No.3

Extensive Necrotizing Fasciitis after Fat Grafting for Bilateral Breast Augmentation: Recommended Approach and Management

Pek, Chong Han,Lim, Jane,Ng, Hui Wen,Lee, Han Jing,Ong, Wei Chen,Foo, Anthony Tun Lin,Lim, Chwee Ming,Thong, Mark,Sebastin, Sandeep Jacob,Lim, Thiam Chye Korean Society of Plastic and Reconstructive Surge 2015 Archives of Plastic Surgery Vol.42 No.3

Bio-Conjugated Polycaprolactone Membranes: A Novel Wound Dressing

Elijah Zhengyang Cai,Erin Yiling Teo,Lim Jing,Yun Pei Koh,Tan Si Qian,Feng Wen,James Wai Kit Lee,Eileen Chor Hoong Hing,Yan Lin Yap,Hanjing Lee,Chuen Neng Lee,Swee-Hin Teoh,Jane LIM,Thiam Chye LIM 대한성형외과학회 2014 Archives of Plastic Surgery Vol.41 No.6

Background: The combination of polycaprolactone and hyaluronic acid creates an idealenvironment for wound healing. Hyaluronic acid maintains a moist wound environment andaccelerates the in-growth of granulation tissue. Polycaprolactone has excellent mechanicalstrength, limits inflammation and is biocompatible. This study evaluates the safety and efficacyof bio-conjugated polycaprolactone membranes (BPM) as a wound dressing. Methods: 16 New Zealand white rabbits were sedated and local anaesthesia was administered. Two 3.0×3.0 cm full-thickness wounds were created on the dorsum of each rabbit, betweenthe lowest rib and the pelvic bone. The wounds were dressed with either BPM (n=12) orMepitel (n=12) (control), a polyamide-silicon wound dressing. These were evaluatedmacroscopically on the 7th, 14th, 21st, and 28th postoperative days for granulation, reepithelialization,infection, and wound size, and histologically for epidermal and dermalregeneration. Results: Both groups showed a comparable extent of granulation and re-epithelialization. Nosigns of infection were observed. There was no significant difference (P>0.05) in wound sizebetween the two groups. BPM (n=6): 8.33 cm2, 4.90 cm2, 3.12 cm2, 1.84 cm2; Mepitel (n=6):10.29 cm2, 5.53 cm2, 3.63 cm2, 2.02 cm2; at the 7th, 14th, 21st, and 28th postoperative days. The extents of epidermal and dermal regeneration were comparable between the two groups. Conclusions: BPM is comparable to Mepitel as a safe and efficacious wound dressing.

Bio-Conjugated Polycaprolactone Membranes: A Novel Wound Dressing

Cai, Elijah Zhengyang,Teo, Erin Yiling,Jing, Lim,Koh, Yun Pei,Qian, Tan Si,Wen, Feng,Lee, James Wai Kit,Hing, Eileen Chor Hoong,Yap, Yan Lin,Lee, Hanjing,Lee, Chuen Neng,Teoh, Swee-Hin,Lim, Jane,Lim, Korean Society of Plastic and Reconstructive Surge 2014 Archives of Plastic Surgery Vol.41 No.6

Background The combination of polycaprolactone and hyaluronic acid creates an ideal environment for wound healing. Hyaluronic acid maintains a moist wound environment and accelerates the in-growth of granulation tissue. Polycaprolactone has excellent mechanical strength, limits inflammation and is biocompatible. This study evaluates the safety and efficacy of bio-conjugated polycaprolactone membranes (BPM) as a wound dressing. Methods 16 New Zealand white rabbits were sedated and local anaesthesia was administered. Two $3.0{\times}3.0cm$ full-thickness wounds were created on the dorsum of each rabbit, between the lowest rib and the pelvic bone. The wounds were dressed with either BPM (n=12) or Mepitel (n=12) (control), a polyamide-silicon wound dressing. These were evaluated macroscopically on the 7th, 14th, 21st, and 28th postoperative days for granulation, re-epithelialization, infection, and wound size, and histologically for epidermal and dermal regeneration. Results Both groups showed a comparable extent of granulation and re-epithelialization. No signs of infection were observed. There was no significant difference (P>0.05) in wound size between the two groups. BPM (n=6): $8.33cm^2$, $4.90cm^2$, $3.12cm^2$, $1.84cm^2$; Mepitel (n=6): $10.29cm^2$, $5.53cm^2$, $3.63cm^2$, $2.02cm^2$; at the 7th, 14th, 21st, and 28th postoperative days. The extents of epidermal and dermal regeneration were comparable between the two groups. Conclusions BPM is comparable to Mepitel as a safe and efficacious wound dressing.