(Un)Making of Jacob Flanders: Photographic Approach to the Narrative Structure and Deconstruction of the Bildungsheld in Jacob’s Room

( Eunjin Cho ) 한국근대영미소설학회 2017 근대 영미소설 Vol.24 No.3

This paper makes a photographic approach to the narrative form rendered in Virginia Woolf’s Jacob’s Room widely acknowledged as her first experimental novel. In a textual level, Woolf’s employment of a polyvocal narrative of marginal characters, randomly dispatched throughout the novel, contributes in disrupting the teleological development of the central narrative of the bildungsheld (a bildungsroman hero). In a thematic level, reading through the lens of Benjaminian sense of aura, I argue that the optics of the marginal characters which function as a modern camera continuously (re)produces the image of the bildungsheld, and subsequently makes his authentic representation improbable and deconstructs the aura embedded in the traditional bildungsheld. I further develop a term ‘aperture narrative’ in order to signify how the mechanic movement of the aperture in the optics of the marginal characters regulates the presence of the bildungsheld from the text and how they facilitate the ‘aperture narrative’ as a means to manifest their individual consciousness. As for the modern readers, Woolf’s use of such experimental narrative invites the readers to rethink center and margin clearly bifurcated in the traditional bildungsroman narrative and to actively engage themselves in (un)making of the bildungsheld.

외상, 역사, 서사

민승기 한국근대영미소설학회 2012 한국근대영미소설학회 학술발표논문집 Vol.2012 No.-

다니엘 디포와 근대 개인주의: 『록사나』를 중심으로

이혜수 ( Hye Soo Lee ) 한국근대영미소설학회 2014 근대 영미소설 Vol.21 No.3

This essay intervenes in and complicates the discussion that a distinguishing aspect of Daniel Defoe`s novels lies in their trenchant grasp of modern individualism by reading Roxana. Defoe`s conception and representation of modern individualism in Roxana are not fully explicated by what has been considered the hallmark of his individualism, that is, economic individualism and Protestant interiority. The eponymous heroine of Roxana is, like most hero/ines of Defoe`s other novels, a survivor of adversities and deprivations through her own resources and personal capacity; she seeks to be an autonomous and independent self regardless of the external environments. Yet while Roxana`s hard-acquired autonomy, which is initially predicated on her willful determination to be apart from morality, empowers and enables her to pursue a higher ambition, it also turns out to involve some necessary anxiety, guilty feelings, or self-alienation as the story goes on. The last part of the novel, in which Roxana`s name-sake daughter Susan haunts her and tries to reveal her identity as Roxana, stands as a compelling vignette that shows the nightmarish, repetitive, and unconscious underside of the enlightenment of modern individualism. Defoe`s last novel, the last Susan scene in particular, allows us to see that Defoe`s vision of modern individualism might be much more complex, ambiguous and ambivalent than is usually conceived.

헨리 맥킨지의 『감성적인 남자』에 나타난 감정 과잉과 감성적 주체성의 도덕적 의미

배경진 ( Kyungjin Bae ) 한국근대영미소설학회 2018 근대 영미소설 Vol.25 No.1

Henry Mackenzie’s first novel, The Man of Feeling, though avidly read and regarded as a touchstone of the sentimental genre by his contemporary readers, does not receive proper critical attention because the excess of emotions in the work seemingly denotes the limit of the sentimental novel. But it should be noted that sentimental excess as the cause of enormous popularity is intended by the author for his moral vision. Mackenzie believes that the blind pursuit of self-interest, if not checked, necessarily brings about moral degeneration. His idealization of Harley as a model of virtue, which engages with the critical debate on his mechanical response to the unfortunate, indicates the presence of social injustice as well as the urgent need for virtue. Assuming that virtuous sentiments, on which virtue depend, can be cultivated by the sentimental novel, he employs nearly all literary devices to maximize sentimental responses from readers. Most remarkable is the fragmentedness of the novel, which enables readers to get more deeply involved in the feelings of the book. By leading readers to experience a gamut of feelings from laughter to frustration and to despair, and ultimately feel sympathy with the moral vision of the novel, he seeks to transform them into sentimental subjects of virtue.

존 윌리엄스의 『부처스 크로싱』과 미국 서부소설의 진화

엄기동 ( Gidong Aum ) 한국근대영미소설학회 2016 근대 영미소설 Vol.23 No.3

This paper examines John Williams`s Butcher`s Crossing in light of the “New Western” that developed in the 1960s. The writers of the New Western, or the “Anti-Western,” appropriate, revise, and ultimately rewrite the traditional Western and the history of the West. In the process of rewriting many postmodern writers broke away from traditional novels and relied on “metafiction,” a literary device that is employed to juxtapose fictional reality with their own reality. But as implied in his statement, “The iconoclasm need not be loud and messy,” Williams was less concerned with genre convention unless he would allow it to control his material, story, or character. What he was more serious about, though, was all the “lies” that the traditional Western, with its enormous popular appeal, had delivered to the public, as if they were what really happened. This is why Williams in Butcher`s Crossing constantly takes issue with Ralph Waldo Emerson`s Transcendentalism and with Frederick Jackson Turner`s Frontier Thesis. In an interview, Williams said that “there`s a very real sense in which `the West` does not, did not ever, exist. It`s a dream of the East.” This paper will show how Williams confirms and dramatizes his statement in Butcher`s Crossing.

"위험한 동결자본"- 하드보일드 추리소설에서의 팜므 파탈의 경제학

계정민 ( Joeng Meen Gye ) 한국근대영미소설학회 2015 근대 영미소설 Vol.22 No.1

This paper aims to examine the representation of femme fatale in hard-boiled detective fiction. It argues that the femme fatale in hard-boiled detective fiction is represented not in terms of gender disruption and sexual desire but of greed for capital. The femme fatale in hard-boiled detective fiction reveals high similarity with capitalists in that both accumulate wealth by using such illegal means as appeasement, blackmail, and conniving with the government. Although the hard-boiled detective fiction reveals its intense hatred and strong aversion to capitalist class, it punishes femme fatale instead of capitalists. This paper interprets the severe punishment on femme fatale in hard-boiled detective fiction as a vicarious projection of hatred against the capitalist class on femme fatale represented in the image of capitalists. Thus the hard-boiled detective fiction reaffirms and reassures the dominant ideology.

A “Patron” of Novel Readers: Reading Jane Austen’s Northanger Abbey

( Young Seon Won ) 한국근대영미소설학회 2019 근대 영미소설 Vol.26 No.1

Jane Austen was a committed novel-reader whose literary life was deeply permeated by the culture of novel-reading, in the period during which her contemporaries witnessed the unprecedented rise in the production of the novel. Northanger Abbey, the most meta-fictional among Austen’s works, reads as Austen’s fictional preface to her literary career in its engagement with the culture of the novel. Northanger Abbey is peopled with those who read novels, and what the characters read and how they read in the novel is often the key to judging those characters, orchestration of which further exemplifies the assumptions, expectations, and cultural norms that contemporaries hold about reading novels. Putting her fingers on the popular contemporary trope of a heroine reading (Gothic) novels in this novel, she also invites her readers to engage with the ways in which the cultural and literary constructions of the novel and its readers are rendered and tested against each other. The interrogation of “reading a novel” is thus to be specifically situated not only within the cultural and literary context of the genre discourse but within the context of an individual reader’s negotiation of reading and life experiences. In linking the cultural trope of novel reading and the questions about the practice of reading books and life experiences, therefore, this study attempts to explore the manifold ways in which Austen probes into the culturally situated complexities of novel-reading. Allowing novels to be “patronized” by her own heroine, and thereby making herself a patron of the novel, and offering the readerly education as an author both for her heroine and her contemporary readers, this study argues that Austen deliberately empowers herself as a reader as well.

월간지 소설 형식으로서의 증기선 여행: 헨리 제임스의 「파타고니아 호」

윤미선 한국근대영미소설학회 2022 근대 영미소설 Vol.29 No.2

This paper offers a critical formalist reading of Henry James’s novella “The Patagonia” in order to emphasize the historical-formal condition that the magazine serialization exerted on certain late-nineteenth-century fiction, particularly that of Henry James. This condition allowed works of fiction in this period a unique type of “performative unity” in its construction of a new sociality, an act which the recent “New Formalists” would advocate. The steamship travel featured in “The Patagonia” works effectively as a formal trope for the monthly magazine fiction—especially for the cheaper monthlies that emerged in the 1880s—which sets a rhythm of reading in its monthly publication and has certain socioeconomic implications. “The Patagonia” appeared in two parts in the six-penny English Illustrated Magazine that was established in 1883 by the prestigious publisher Macmillan and Company in order to attract the expanding “mass” readership. In the novella, the transatlantic steamship Patagonia is presented as slow and spacious, like the old Shilling monthlies, but its time-space allows expectations for dramatic cross-class encounters and the more sensational events that result from them. Its heroine, who chooses to die by drowning herself in the sea, however, exposes the fact that the ship’s and the novella’s destined pace is the result of the contest only among the middle class, whose differentiation has created competing desires for different paces and types of leisure and storytelling. Those who are unable to afford that pace, or social time, are also excluded from its representation. The steamship travel in “The Patagonia” not only provides an instance for the spatiotemporal organization of the narrative but also does so in a way that reveals the external world of the time-space regime that the narrative constructs. .

조지 엘리엇의 종교와 미학: 『애덤 비드』를 중심으로

오정화 ( Jung Hwa Oh ) 한국근대영미소설학회 2013 근대 영미소설 Vol.20 No.3

Being well established as a leading intellectual in the circle of radical thinkers, George Eliot began to write novels to deliver her philosophy and ethics within the context of real-life situation at the age of thirty-seven. Her philosophy and ethics are intimately related with her religion, and she continues to expound and engage with Christian belief and texts from her first novel, Adam Bede, to the last, Daniel Deronda. "Evangelical Teaching: Dr Cumming" shows her criticism of the lack of Divine love in "dogmatic Christianity," and "Silly Novels by Lady Novelists" criticizes the lack of verisimilitude in those novels, particularly in the "oracular species" in which authors attempted to elucidate their religious and ethical ideas. In Adam Bede Eliot shows her vision of an ideal novelist through Dinah Morris, Methodist woman preacher. Dinah preaching on the Green brings up the image of a writer giving moral message that one should grow out of egoism and have sympathy for others. However, as an ideal of the novelist, Dinah as minister is more important than Dinah as preacher. She comes to Hetty in prison when she is sentenced to death, and feels with her and weeps with her. Her sympathy and love give Hetty voice, which pours out her misery for the first time. So far Hetty`s story has been told by the male narrator, who is judgmental of her narcissism and indifferent to her sufferings. Now Hetty`s voice reveals how vulnerable and helpless she has been in the materialist, class-oriented, male-centered community of Loamshire. Dinah`s divine love and sympathy are what the Dutch painters in Chapter 17 had for vulgar citizen, and what Eliot needs for her realism to extend from the external world to the inward life of individuals. Eliot`s religion and aesthetics meet in Dinah Morris.

도리스 레싱의 소설에 나타난 가족 트라우마 서사

박선화 한국근대영미소설학회 2012 한국근대영미소설학회 학술발표논문집 Vol.2012 No.-