한국호손학회 회칙 ( 한국호손학회 , 호손연구 , 창간호 ,1994 )

학회자료 미국소설학회(구-한국호손과 미국소설학회) 1994 미국소설 Vol.1 No.1

미국소설의 아버지로서 호손의 위상

김지원 미국소설학회(구-한국호손과 미국소설학회) 2005 호손과미국소설연구 Vol.12 No.1

미국소설

미국소설학회 미국소설학회 2006 미국소설 Vol.13 No.2

The American Countess: Queer Metaphor and Moral Growing in Henry James’s What Maisie Knew

( Jung Sun Choi ) 미국소설학회(구 한국호손학회) 2014 미국소설 Vol.21 No.3

As James shows, What Maisie Knew is preoccupied with visual performative effects of sex, gender, and sexuality based on materiality of bodies, dressing, cosmetics, and decorated body parts. Just as a series of visual performances blurs the boundaries of gender, sexuality, class, age, and race in the child`s point of view, Maisie is given a daunting task of redrawing the boundaries. Just as many critics agree with a reading of the novel as the story of the young girl`s moral growth, part of her growing is involved in her coming out of a passive receptacle through her efforts to disentangle herself from the confusion. I argue that James`s presentation of the American Countess is effective in influencing Maisie in understanding how to draw the line between this and that. The presence of the American Countess is crucial because she teaches Maisie the possibilities in plurality. Critics have argued about the identity of the American Countess and recently they claim the American Countess as a racial category. She is either an African American, an East Indian, or a Native Indian. However, as I argue, James`s portrayal of the American Countess is ambiguous, incomprehensible, and indeterminable as to be defined as the figure of queerness. The queerness manifested by the American Countess produces pivotal moments in Maisie`s growing into the maturing state. As part of her growing up means to know all and everything, Maisie reaches the point of knowing “all” through learning how to play a part in a scene staged by her father in the Countess`s apartment and she becomes an adult.

마크 트웨인의 『아더 왕궁의 코네티컷 양키』: 행크 모건의 리더십 분석

이광진 ( Kwang Jin Lee ) 미국소설학회(구 한국호손학회) 2014 미국소설 Vol.21 No.2

The readers of Mark Twain`s A Connecticut Yankee in King Arthur`s Court have long been debating on the correct interpretation of the fiction. As Twain`s contemporary readers did, some critics in the twentieth century, read it as a story that emphasizes America`s superiority to England, while others insist that it is an acute criticism of America, not England. This paper provides a new perspective on the controversial fiction by applying Robert J. House`s Path-Goal Theory of Leadership, an established leadership of the discipline of Organizational Behavior, a branch of Management. It focuses on Hank`s leadership style that he uses in his relationship with the subordinates, particularly Sandy, Clarence, and the knights. For that, it analyzes some important contingency factors which critically affects the effectiveness of leadership styles?task ambiguity, locus of control, and authority. The three groups of people turn out to have differences in contingency factors. Sandy has low task ambiguity, external locus of control, and high respect of formal authority while Clarence has high task ambiguity, internal locus of control, and high respect of formal authority. The Knights have low task ambiguity, external locus of control, and low respect of formal authority. This paper shows that contrary to some critics who complain that Hank is inconsistent throughout the fiction, he is consistent in using leadership styles to each group of people. He adopts a proper leadership to Clarence, his executive officer. His leadership in relation to the knights is unsuitable, which causes trouble and finally leads to the total destruction of the civilization that he established. From this, this paper argues that the fiction may be Twain`s experiment of what will happen when a typical businessman in the nineteenth century America is situated in new environment. Twain seems to be quite pessimistic.

매티슨의 『줄어드는 남자』에 나타난 1950년대 남성성의 위기와 상상적 해결

황은주 ( Eun Ju Hwang ) 미국소설학회(구 한국호손학회) 2014 미국소설 Vol.21 No.2

This essay illustrates how the unique narrative structure of Richard Matheson`s The Shrinking Man reflects the confusion, anxiety, and fear of what William Whyte Jr. referred to as the “organization man.” According to this concept, men in the 1950s were guided by two oppositional ethics?the “protestant,” individualistic ethic and the “social,” group-oriented ethic. While the protestant tradition still valorized the myth of the self-made man, conformity dictated their everyday lives. Man had to prove his masculinity through financial success, but at the same time they were expected to be family-oriented, kind, and understanding?to have traditionally “feminine” qualities. The Shrinking Man is Matheson`s sarcastic but not unsympathetic commentary on the organization man`s attempt to find imaginary solutions to his perceived masculinity in crisis. In the first part of the essay, the double structure of the novel?a narrative of the past, from week 1 to week 64, and a narrative of the present, the week 72?is examined in relation to these separate spaces. The narrative of the past shows Scott`s conformist life on the surface, while the narrative of the present reveals his subterranean life where he fulfills his individualistic, masculine dream. The structure helps the novel keep its distance from Scott Carey`s “heroic” achievement in the basement and underlines the irony in his reclaimed masculinity, which is considered in the second part of the essay.

Pixelated and Pulverized War and History in Don DeLillo`s Point Omega

( Ju Young Jin ) 미국소설학회(구 한국호손학회) 2014 미국소설 Vol.21 No.3

This paper examines the thematic functions of Douglas Gordon`s 24-Hour Psycho and Alexander Sokurov`s Russian Ark in Don DeLillo`s Point Omega to highlight the ways in which they show the ubiquity and power of image in propagandizing the War on Terror. Gordon`s 24 Hour Psycho stretches Hitchcock`s Psycho from its original 2 hour running time to create a 1440-hour video installation. By radically slowing down time, Gordon`s 24-Hour Psycho recuperates the jarring noise between images which is imperceptible when played at normal speed, whereas Sokurov`s Russian Ark rejects the idea of editing altogether by making a film shot with one long take. DeLillo features these moving image art as a parable of American war and history. Together, the two films in the novel entail the self-critique of the post 9/11 American society by taking the manipulation of image to the extreme. The novel foregrounds a war documentary project of Jim Finley, a filmmaker, who envisions a kind of visual haiku, shot in one long take. The documentary features an interview with a retired political spy named Richard Elster who did propaganda and lobbying for the Pentagon during the Gulf War. As the interview frequently forestalls plot development, the novel illustrates how the teleological progress of American civilization is in fact regressing on itself, which is also reflected in the title of the novel which reverses the “omega point,” the zenith of human progress. I construe this paradoxical double movement of possessing history and becoming possessed by it as something akin to Derrida`s concept of “archive fever.” Conflating the murder plot of Psycho with the disappearance of Elster`s daughter Jessie, Point Omega eventually exposes the suturing process occurred in real life war propaganda. Coupled with DeLillo`s persistent themes of the clash between individual and history, the rise of mass and paranoid/conspiracy theory, Point Omega shows how DeLillo disrupts the smooth procession of everydayness in order to examine the lasting effects of war, be it personal or political, by delaying release of them.

Grotesque Visions of Racial Hierarchy and Southern Historicity in Flannery O`Connor`s “Revelation” and “Everything That Rises Must Converge”

( Seong Eun Jin ) 미국소설학회(구 한국호손학회) 2014 미국소설 Vol.21 No.2

This essay examines the ongoing unfinished racial revolution in America. Despite the fact that Flannery O`Connor lived in the American South, many critics have overlooked her view of racial integration. Regardless of social context, regional struggles due to racism seem to be irrelevant to O`Connor`s works since she mainly deals with her characters` religious realization at the stories` ends. Nonetheless, beneath the narrative surface, O`Connor`s grotesque depictions revolve around the historical crisis regarding racial conflicts in the South immediately before the Civil Rights movement. O`Connor`s white characters` attitudes toward their surroundings reveal the collective level of white Southerners` responses to the racial upheavals in the mid-twentieth century. In this paper, I explore the historicity of heightened tension between whites and African Americans in O`Connor`s “Revelation” (1965) and “Everything That Rises Must Converge” (1965). This article analyzes how the Jim Crow South influences O`Connor`s writings and reversely shows how she responded to racial issues.

Cultural Hybridism in N. Scott Momaday’s House Made of Dawn: A Mixture of Pan-Indianism and American Individualism

( Sung Bum Lee ) 미국소설학회(구 한국호손학회) 2014 미국소설 Vol.21 No.3

In House Made of Dawn (1968), N. Scott Momaday experiments with diverse kinds of hybridization to find solutions for the trauma of displaced Native Americans. I underscore that if hybridity does create a dynamic tension of two opposing cultures to exert its transgressive power, it becomes the positive version of cultural hybridism; if not, it turns into the negative version of cultural hybridism. The protagonist Abel belongs to the former, whereas Father Olguin and Tosamah pertain to the latter. Although Father Olguin and Tosamah show the mixing of Christianity and indigenous cultures, they believe in neither of these conflicting cultures with the result of falling into cultural nihilism. Father Olguin attempts to Christianize Native American rituals from the perspective of the colonizer, whereas Kiowa Indian Tosamah tries to Indianize Christian ideas from the standpoint of the colonized. Despite their difference in ways of putting together clashing cultures, however, both of them cannot have confidence in either Christian or Native American cultures. It follows that they lapse into cultural pessimism. Their hybrid strategies do not play effective roles for tackling the traumatic diaspora of displaced Indians in American metropolitan cities. In contrast, Abel displays the positive version of hybridity. For his hybridism forms a dynamic interaction of white-modern individualism and pan-Indian solidarity. Unlike his grandfather Francisco who sticks to Jemez tribalism to be a native in the Walatowa reservation, Abel combines together Jemez and Navajo traditions to pursue cross-tribal alliance in American society. More importantly, he takes advantage of white-modern individualism as shown in the dawn race, one of Jemez traditional ceremonies so as to distance himself from Jemez tribalism. His solitary observation of the ritual without enthusiastic participation in it implicates the personalization of Jemez collective tribalism; yet, he does not abandon the significance of pan-Indian community. Passing through cross-tribal Native American cultures and white-modern individualism, he is eventually capable of mixing together cross-tribal vision and white-modern individualism. While Francisco adheres to Jemez indigenism in Walatowa reservation, Abel ought to confront an era of termination and relocation policies during 1950s when Indians were displaced from their reservations to scatter into metropolitan cities. His hybridism thus reflects socio-economic and political reorganizations of Native American life in modern American society.

Ethnic Modernism in Carlos Bulosan`s America Is in the Heart

( Jung Ju Shin ) 미국소설학회(구 한국호손학회) 2014 미국소설 Vol.21 No.2

This paper aims to reread Carlos Bulosan`s novel America Is in the Heart (1946) as a modernist text to expand the discussions on literary modernism that has traditionally excluded ethnic or realist novels. Although usually considered a socialist realist novel, America Is in the Heart also exhibits characteristics of ethnic modernism through responding and resisting to Filipino (American) modernity deeply marked with colonialism and capitalism. Refuting the limited boundary of Anglo-European and American high modernism, modernist studies claimed a need for diverse, expanded alternative modernisms. Ethnic modernism is one of the movements respond to transnational modernities on which imperialism and capitalism take dominant influence, expanding the studies on modernism to racially and aesthetically more diverse ethnic writers who have been reduced to the peripheral field of ethnic studies. Bulosan`s semi-autobiographical novel sharply captures the violent condition of modernity, mainly caused by the imperialist and capitalist exploitation, imposed on Filipino and American cultures and the characters` responses?sense of despair, anger and alienation. Nevertheless, the novel also suggests the persistent hope for a better future of the modern society and the contradictory characteristic of modernism. Bulosan`s ambivalence, resistance and subversion to modernity are embodied in the novel`s idealization of America and white American women.