프리엘의 극에 나타난 서벌턴 그리고 기억/회상의 무대화하기

정윤길 ( Jung¸ Youn-gil ) 동국대학교 영어권문화연구소 2011 영어권문화연구 Vol.4 No.2

The goal of this essay is to examine Brian Friel’s plays with the analysis based on Spivak’s subaltern. Spivak first indicates how the Western process of reasoning foreclosed the subaltern women, criticizing its logical assumptions and abjection. She reveals that the agency of female subjects was blocked and did not allow women to construct their discourse. Her problematization of the colonized subjective agency in terms of imperial epistemic violence and its heterogeneity and the intellectual's positioning helps interrogate the notion of identity as independent and self-sufficient consciousness, exposing the danger of reproducing the imperial power structures and re-silencing the subaltern involved in the process of postcolonial communication. In Dancing at Lughnasa, it is revealed that, from the viewpoint of the male narrator, Irish women in the postcolonial age still undergo the hardship chained by the partriarchial system and Catholic regulations. In this play, Friel exposes the social, political, religious mechanisms in Ballybeg which have constructed Irish female subalterns’ gender role and constrained their life. In the patriarchal world of Friel’s plays, the most subjected are the Irish female subalterns in terms of gender, sexuality, class, and situation. And, therefore, Irish women in Friel’s plays lack their own voice. Molly Sweeney is a political play. The characters stand for either the colonizer or the colonized. Furthermore, this play also deals with the Irish women under oppression. The boundary between the imaginary world and reality which Molly crosses over and returns in the last scene represents the ambivalent situations of confusion the Irish women experience.

문화번역의 관점에서 포스트콜로니얼 텍스트 읽기 : 벤야민과 바바의 번역론을 중심으로

정윤길 ( Jeong¸ Youn Gil ) 동국대학교 영어권문화연구소 2012 영어권문화연구 Vol.5 No.1

The aim of this paper is to examine cultural translation in the postcolonial context. Translation has traditionally been considered as one of the principal means by which ideas are transmitted across cultures. The act of translation and communication argued in the textual analysis is substantially indebted to the linguistic theory of George Steiner. Also Walter Benjamin's idea of translation has been adopted to illuminate political devices to hide and to reveal the colonial intentions as well as the post-colonial implications. The translated words which have transformed, displaced, misinterpreted and partially subverted the colonialist views create the possibility of the colonial hybridity between two cultures. Particularly in Translations, Friel describes the extinction of the Gaelic by the colonial England, and shows the emergence of a new language, Irish English. The appropriation of language/culture is on servable in Translations. He says, there is a possibility that a new identity can be constructed through the formation of the new language.

America in Brian Friel’s Plays

( Jeong¸ Youn-gil ) 동국대학교 영어권문화연구소 2014 영어권문화연구 Vol.7 No.2

This paper explores Friel's perspective towards America has changed, by examining his depiction of Irish American immigrants, his evocative portrayal of America as villain and his stylistic and thematic similarities to American playwrights Thorn Wilder and Tennessee Williams. At first, I investigate the discussion of emigration to America from the female perspective in The Loves of Cass McGuire and Translations. And then I examines the reasons behind his increasing disgust with American selfishness and the materialism, as typified in The Mundy Scheme and American Welcome. Lastly, I consider his debt to two American playwrights, Thornton Wilder and Tennessee Williams. As a result, I can understand the complexities of meaning America has for Friel.

Awareness of Space as a Theatrical Dramaturgy and Divided Self in Brian Friel’s Plays

( Jung¸ Youn Gil ) 동국대학교 영어권문화연구소 2012 영어권문화연구 Vol.5 No.2

Brian Friel plays communicate not only through words but also through the non-verbal use of space ― both the geographical places in which plays are set and the ways stage space is used. The circumstance of place is always a highly pertinent consideration in any discussion of Irish literature. I try to establish the relevance of a apposite attention to the question of place in Friel plays and propose to see it as an attempt to reveal awareness of place and divided self. The discussion of the paper centers on ‘the problem of space.’ Through this attempt, I examine Friel’s treatment of place as the theatrical dramaturgy in his plays in terms of the geographical space partition and the stage space and asserts that his ‘awareness of place’ reveals the cognitive mapping of Ireland's ‘divided self’. In geographical respect, Ballybeg is emblematic of Ireland and a part of Ireland rather than any one specific village in that area. In this respect Ballybeg represents an effort, at the wider application of a place, towards some kind of local universality. In dramaturgy, the experimental stage spaces are employed to deconstruct the reality Friel has created within the world of Ballybeg as well as its external reality. I draw the conclusion that his attempts to map the pain of de-mythologizing both personal and public identities, facing up to lost fantasies to the individual and the nation. A focus on space particularly connected to theatrical dramaturgy(aesthetics) offers fresh interpretations of the texts and, far from narrowing the significance of Friel’s work, opens it up to some of the major intellectual issues of present Ireland.

마리나 카(Marina Carr)의 극에 나타난 젠더의 재현과 극적 형식 사이의 상관관계 연구

정윤길 ( Jeong¸ Youn-gil ) 동국대학교 영어권문화연구소 2016 영어권문화연구 Vol.9 No.1

In Irish drama since the early 1990s, there has been a tension between the imaginative spaces generated in theatres, and the most intimate physical space of all - the human body. I want in this paper to examine and explore how the tension present the gender problem within Marina Carr’s plays. We see an increase in the number of Irish plays that reproduce the apparently old-fashioned gendered tropes, whereby masculinity and eloquence, and feminity and embodiment, are strongly associated with each other. Marina Carr's play takes those presentations of women, and works them through to nation as woman - but turns that representation against itself. Low in the Dark explores the myths and misconceptions between the sexes. In Bender and Binder's world, men are a necessary irritant. Their time is spent reliving their relationships, for the most part unsuccessful events. Baxter and Bone, ignorant and innocent of women, spend their time imagining the Ideal Woman. Orchestrating this furore is Curtains, who has her own version of the story of Man and Woman. In The Mai, the title character commits suicide after her husband leaves her. The protagonist of Portia Coughlan kills herself, in fulfillment of a suicide pact with her twin brother Gabriel. In By the bog of Cats, Hester Swayne commits suicide, but first murders her daughter Josie, arguably Carr's most brutal play, portrays a family suffering from horrendous abuse by their father, and includes a shocking scene of incestuous rape. Finally, in Ariel, a midlands politician kills his daughter for political advancement before himself being killed by his wife. Therefore, I assert that Carr's plays resonate in particular with gender issues concerning motherhood and familial relationships. She highlights unfair treatment of women through engagement with more personal dimensions of human experience but attempts to disrupt inequalities in Ireland's traditional patriarchal society .

‘세계문학’의 긍정성과 현재적 의미에 대한 비판적 고찰 : 괴테에서 댐로쉬까지의 개념 읽기

정윤길 ( Jeong¸ Youn Gil ) 동국대학교 영어권문화연구소 2015 영어권문화연구 Vol.8 No.1

In the age of globalization, the category of “World Literature” is increasingly important to academic teaching and research. This paper examines such theorists' ideas of world literature as Goethe, Franco Moretti, Pascale Casanova and David Damrosch and suggests the possibility of world literature in globalization. The world literature paradigm has undergone a number of major transformations since its inception in the 1820s. Goethe had a keen sense of world literature as driven by a new world market in literature. It was this market-based approach that Marx and Engels picked up in 1848. Whereas Marx and Engels followed Goethe in seeing world literature as a modern or even future phenomenon. For Moretti world literature is ‘one, and unequal,’ structured by periphery and core. For Casanova it is governed by national accumulations of cultural capital, the most powerful cities then governing access to literary recognition on a world. Both employ market metaphors: debt, importation, direct and indirect loans, in Moretti; capital accumulation and literary value in Casanova. Damrosch harks back to Goethe's world literature as the circulation of intellectual, and more precisely literary goods among nations. I think that World literature responds to the forces of globalization by identifying with them. In this sense, the foremost aim of literary study is to describe how cultural phenomena are lost, recovered, and transformed across a planetary entanglement that has always existed but only now insistently unfurls itself for the benefit of scholars―a splendid divulgement of the world, threatening only to the faint-hearted and regretted only by curmudgeons.

포스트 9ㆍ11 시대와 이스트우드주의 : <그랜 토리노>와 <아메리칸 스나이퍼>에 나타난 서부영화의 신화 내면화하기 연구

정윤길 ( Jeong¸ Youn-gil ) 동국대학교 영어권문화연구소 2016 영어권문화연구 Vol.9 No.3

This paper examines Clint Eastwood’s attempts to internalize the myth of western films in his works Gran Torino and American Sniper. To this end, the discussion focuses on how post-9/11 renegotiates national identity and new western hero through its narrative. In Gran Torino, Eastwood shows a gesture of so many Western heroes and cops he embodied in the past, that is, taking a gun out of holster and symbolizes the heritage of new American masculinity. American Sniper arises from the simple premise of a fight to the death between good guys and bad guys. The film is not quite among them, but much of its considerable power derives from the clarity and sincerity of its bedrock convictions. Eastwood shows that Kyle, for all his personal problems, is not himself the problem, but a symptom of a larger problem. The real problem is with the segment of society that glorifies this behavior as heroic, holding up Kyle in particular as a super-hero. Consequently, I assert Eastwood shows the twisted logic that holds up people like Walt and Kyle as heroes while failing to question the cause or need for war and violence in the first place to demythologize the false picture that the tradition of Westerns.

신, 윤리, 신념에 대한 이글턴의 성찰과 이데올로기적 주체의 문제에 대한 비판적 읽기

정윤길 ( Jeong¸ Youn-gil ) 동국대학교 영어권문화연구소 2015 영어권문화연구 Vol.8 No.3

This paper examines Eagleton's assertion for revolutionary faith in opposition to the liberal humanism whose ignorance of faith in God yields a politics of capitulation to the status quo. He demolishes what he calls the superstitious view of God held by most atheists and agnostics and offers in its place a revolutionary account of the Christian Gospel. On the other hand, he launches a stinging assault on the betrayal of this revolution by institutional Christianity. He argues that humanity is in a desperate situation largely of the West's making. In a world where reason and faith are increasingly polarized, they are pushed to their extreme forms: rationalism and fideism. He suggests we need to foster conditions in which a reasonable kind of faith can flourish in order to reclaim the kind of transformative and revolutionary potential of early Christianity. Neither politics nor culture offers a way out of the crisis, but theology, with its critical contemplation of the nature of humanity and humanity's future, may suggest answers to some of the very problems it helped to create. As a result, I think his faith involves the affirmation that reality is, and therefore ultimately can be beautiful, free of all disfiguring injustice.

아일랜드 현대극 다시 읽기 : (탈)식민적 정치성에서 미학적 목소리로

정윤길 ( Jeong¸ Youn-gil ) 동국대학교 영어권문화연구소 2013 영어권문화연구 Vol.6 No.1

This essay puts forward the significance of grasping the singularity of the literary/aesthetic mode in reading the modern Irish drama. I think the first thing we need to interrogate carefully and seriously in postcolonial Irish drama is the notion of what we think literature is supposed to do. One of the things that the study of the culture of colonialism, and especially, the emergence of the study of literature both in Britain and in the colonial world is to show us the work literature did in relation to the institutions of colonial rule. The complexity of the Irish situation especially mandates an analysis that is neither limited to simplified Irish/British binaries nor confined to conventional deployments of race, class, and gender, categories whose integrity in Ireland is disrupted by other political and ideological imperatives. Therefore, Ireland's mixed position in relation to imperialism can complicate, extend and in some cases expose the limits of current models of postcoloniality.

Speech Accent Archive에 나타난 영어 어말 유성 저해음 발화 연구

오영일 ( Oh¸ Young-il ) 한국외국어대학교 외국어교육연구소 2021 외국어교육연구 Vol.35 No.4

이 연구의 목적은 영어 어말 유성 저해음이 실제 발화에서 구체적으로 어떻게 실현되는지 설펴보고자 한다. Speech Accent Archive(Weinberger, 2015)에 제시되어 있는 미국영어 화자 25명의 발화에 대한 음성전사를 바탕으로 기저형 어말 유성 저해음의 목표발화와 대체발화 비율, 그리고 그 각각에 대해 세 가지 요인(후행환경, 단어유형, 형태소구성)에 따른 차이점들을 분석하였다. 그 결과 어말 유성 저해음이 기저형인 유성음으로 그대로 실현된 목표발화 비율은 66.32%, 무성음화, 자음탈락과 같은 대체발화 비율은 약 33.67%인 것으로 나타났다. 또한 후행환경, 단어유형, 형태소구성의 세 가지 요인에 따른 목표발화 그리고 대체발화에서의 차이점을 각각 분석한 결과 유성음 목표발화는 휴지 앞에서 그리고 내용어일 때 더욱 많이 유지되었고, 무성음화 대체발화의 경우엔 무성음 앞 그리고 기능어에서, 자음탈락 대체발화의 경우엔 유성음 앞 그리고 기능어일 때 더욱 빈번히 발생되었다. 하지만 형태소구성 요인은 어말 유성 저해음 발화와 관련해 의미있는 차이를 가져오는 요인으로서 기능하지는 못했다. 이러한 영어원어민의 결과들을 바탕으로 영어학습자들의 어말 유성 저해음 발음교육과 관련한 시사점을 제시하고자 한다. This study examines the realizations of English word-final voiced obstruents depending on their following sound, word type, and morphological structure. Underlying voiced obstruents in word-final position are expected to surface as voiced ones, but they are actually realized in a variety of forms: voiced, devoiced, deleted, or with vowels inserted. Moreover, it is not clearly known how much target voicing is maintained or to what extent substitute pronunciations occur. Based on the data from Speech Accent Archive, this study analyzes the production of English voiced obstruents in word-final position. The results show that 66.32% of underlying word-final voiced obstruents are realized as voiced, 19.67% as devoiced, 14.00% as deleted, but there are no realizations with vowels inserted. With regard to the three factors―the following sound, word type, and morphological structure―it is also shown that target voicing is more maintained before a pause and in content words; consonant devoicing more occurs before voiceless sounds and in function words; consonant deletion more occurs before voiced sounds and in function words. Morphological structure does not affect the realizations of target voicing, consonant devoicing, and consonant deletion. Along with these results, implications on English pronunciation education are presented.