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- 저자 : Shelley Fisher Fishkin (검색결과 2 건)
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American Studies in the 21st Century: A Usable Past
Shelley Fisher Fishkin 한국외국어대학교 영미연구소 2004 영미연구 Vol.10 No.-
This article describes some of the transformations taking place in the field of American Studies today, and mines the past for figures who can help light our way. It concludes by describing some instances of model scholarship that exemplify where American Studies is heading. The myth-and-symbol analyses of American national character and the belief in American exceptionalism that dominated American Studies when the field first became institutionalized in the 1950s and 1960s have given way to more complex and nuanced perspectives on American culture as a nexus of multiple cultures constantly influencing and reshaping each other, as a site in which lived experience is inflected by race, by class, by ethnicity, by gender, by sexual orientation, by place of origin, by region, and by religion in complicated and dynamic ways, as a culture whose myths and symbols need to be interrogated rather than reified, and as a culture and nation just as vulnerable as other cultures and nations to the seductions of greed, arrogance and empire. Revisionist historians have re-examined every chapter of U.S. history and uncovered perspectives ignored by previous generations, listening to voices that were previously silenced, exploring conflicts previously erased, and probing power relations that were previously so naturalized as to be invisible. Revisionist literary critics have mined canonical American literature for traces of these silenced voices and evidence of these naturalized power relations and forgotten conflicts. They have recovered vast bodies of texts that have expanded ideas of what American literature is, was, and might be, in ways that their predecessors could not have imagined. Notions of "mainstream" and "margins" that a previous generation of scholars found obvious and unremarkable have been challenged and dismantled. The physical place that is the "United States" has been decentered as the object of study in American Studies by scholars who know that there are stories and histories that don"t take place in the U.S. at all that are central to the field as it is recognized today. We are paying more attention now to American literature in languages other than English, and distinctions between the "domestic" and the "foreign" are increasingly challenged as scholars become more aware of the ways in which each informs the other. As the twenty-first century opens, scholars" ideas about what constitutes "American Studies" are changing in dynamic and exciting ways that make the contributions of international scholars more important than ever.<BR> Where the old American Studies aspired to describe American Culture as a monolithic, stable, homogeneous entity characterized by universally-shared experiences, myths and symbols, the new American Studies increasingly understands American Culture as a crossroads of cultures. In place of exceptionalist, triumphalist narratives of progress, American Studies scholars today are reconstructing complex stories of crossroads and contact zones, of conflict, transformation, and change. Some of the keywords that characterize the new "American Studies" are "transnational," "intercultural," "international" "multicultural," "diasporic," "multilingual," "counter-hegemonic" and "comparative." In place of unitary ascriptions of a particular meaning to a particular event, scholars are contextualizing and historicizing the construction of memory and meaning during different periods, understanding why different pasts become "usable" at different moments in time. Five pioneering figures whose work is particularly "usable" at this juncture in time are Gloria Anzald?a, Robert Morse Crunden, Anna Julia Cooper, W.E.B. Du Bois, and Mark Twain. These five figures are forebears American Studies scholars today need to embrace and celebrate. Together they point us toward new paradigms for American Studies in the 21st century that are transnational, collaborative, and interdisciplinar
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Mark Twain, Race, and Huckleberry Finn
Shelley Fisher Fishkin 한국외국어대학교 영미연구소 2006 영미연구 Vol.14 No.-
Adventures of Huckleberry Finn explored the subject of racism through satire and irony. Twain originally developed this strategy when a direct expose of racism that he wrote was censored. The tendency on the part of some readers to conflate Huck’s perspective with Twain’s is aided and abetted by a peculiarly “double” aspect of Twain’s vision. Samuel Clemens/Mark Twain wrote the book at age 55, but he presented it as if it were written by a child―a child who resembled in some ways, the child Clemens himself once was. By the time he wrote Huck Finn, Sam Clemens had come to believe not only that Slavery was a horrendous wrong, but that white Americans owed black Americans some form of “reparations.” More and more, critics are suggesting that (1) Jim―not Huck―may well be the “hero” of the book; (2) Jim may don a minstrel mask strategically, when it seems to be in his self-interest to do so, and (3) critics’ failure to recognize Jim’s intelligence may reveal their own limitations rather than Twain’s. These assumptions suggest that Twain was doing more than challenging the ideology of black inferiority that dominated his world: he was consciously inverting it, crafting a book in which the most admirable and, perhaps, the most intelligent character, was black. Twain denies all subversive intentions in the novel but such a limited reading denies the corrosive satire of white pretensions to racial superiority that is at the books’s core. The final portion of Huckleberry Finn is increasingly coming to be understood as a satirical indictment of the virtual re-enslavement of free blacks in the South during the 1880s. Writing at a time when pseudo-scientific justifications for racism abounded, Mark Twain created a work of art which subverted the reigning racial hierarchy and spoke across time to generations that would continue to struggle with the challenge of extricating their country from the destructive legacies of Slavery. It is a book about how people who think of themselves as fine, upstanding, citizens can be coolly complicit in supporting an evil and indefensible status quo.
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