The Program of 2010 International James Joyce Conference

학회자료 한국제임스조이스학회 2010 제임스조이스저널 Vol.16 No.2

Congratulatory Remarks by Dr Eamonn McKee, Ambassador of Ireland

학회자료 한국제임스조이스학회 2010 제임스조이스저널 Vol.16 No.2

Foreword

학회자료 한국제임스조이스학회 2008 제임스조이스저널 Vol.14 No.2

한국제임스조이스학회 창립 30주년을 맞이하여

홍덕선 한국제임스조이스학회 2009 제임스조이스저널 Vol.15 No.1

한국제임스조이스학회 30년을 돌아보며

김종건 한국제임스조이스학회 2009 제임스조이스저널 Vol.15 No.1

직선적 내러티브와 공간적 구성의 내러티브

정명희 ( Myung Hee Chung ) 한국제임스조이스학회 2010 제임스조이스저널 Vol.16 No.1

The Years is often criticized as a retrogressively realistic novel, or, if it is an experimental piece, as a failure. But these criticisms are mostly due to assumptions of Virginia Woolf`s so-called visionary novels such as Mrs. Dalloway, To the Lighthouse, and The Waves. Now, it is time to evaluate The Years itself as an independent and experimental work. Woolf as a writer is deeply concerned with aesthetic theories of the novel. She thought that the traditional Victorian novel was too much immersed in what is called life and forgets its own aesthetic functions. Thus, she tries to upgrade the novel to its proper aesthetic territory. The Years is her effort to transform the linear narrative of the novel into a spatial one which is a more inclusive artistic form. By using the methods of scene making and double perspective, her novel builds up many different shapes of space out of time. But this spatial narrative may be rather static. Woolf uses the old literary method of repetition in a rather exaggerated way. She almost forces repetition in every possible level of the novel, such as scenes, ideas, words and phrases both of the characters and the narrator, This is the most difficult part to come to terms with in the novel. But this persistent usage of repetition does give it a needed sense of movement and change (MB 79). She, however, does not change the novel only on the formal level. It also incorporates elements of the essay-form within the novel and discusses general and metaphysical ideas instead of specific and individual issues. Her novel is not obsessed with human beings or their materialistic ways of life anymore. Its horizons become wider, enough to contain not only the human perspective, but also the inhuman as well. Still, The Years can be so dramatic and involves the reader into its own narrative. Even if there is no clear resolution at the end of the novel, it makes one ask the same urgent question with the characters, how human beings can improve their quality of life coming out of Plato`s caves.

『피네건의 경야』에 대한 작가의 변(辯) -1권 5장을 중심으로

전은경 ( Eun Kyung Chun ) 한국제임스조이스학회 2010 제임스조이스저널 Vol.16 No.1

Book I, Chap. 5 of Finnegans Wake rewrites (reinterprets) the married life of HCE and ALP. It also explores the main subjects of the work such as language, family, and sexuality again in a particular way. The letter, called as a mamafesta, a mother`s feast, a writing of a woman (ALP), is central in the chapter since it is expected to provide the key to uncover the truth of the sin of HCE. The letter unearthed by a hen is presented for the examination by a parody figure of pedantry, the Shaun-type narrator. He introduces the apparatus of scholarship such as textual, historical, Freudian, and Marxist analyses to explore the real meaning of the letter. He attempts to apply various theories and approaches to the interpretation of the letter, which can be regarded as an analogy of the Finnegans Wake. The focus of the Book I, Chap. 5 of Finnegans Wake is on the letter, its arrangement of words and the deciphering of its meaning, but the major subject is about the reading and understanding Finnegans Wake. In it we can find Joyce`s own defense and explanation of his embarrassing text. In the process of the examination of the letter`s authorship, content, and origin, the narrator/Joyce discusses the textual mechanism of the letter/Finnegans Wake. As the words in the letter is variously inflected, differently pronounced, otherwise spelled, changeably meaning vocable scriptsigns, their meanings in it are continually moving and changing every part of the time (118.22-28), and they are even further reduced to the alphabet to show the numerous examples of the unstable relationship between the signifier and the signified. Although there is a deep relationship between the letter and Finnegans Wake, they cannot be identified unequivocally; however, in this essay I propose to demonstrate how their textual natures are identical in some perspectives.

Undoing Colonialism from the Inside: Performative Turns in the Short Stories of Leonard Woolf and E. M. Forster

( Eun Kyung Park ) 한국제임스조이스학회 2010 제임스조이스저널 Vol.16 No.1

This paper begins from reading seemingly colonial quest narratives in the short stories of Leonard Woolf and E. M. Forster side by side. Focusing on the erotic encounter between the colonizer and the colonized in the travel narratives of Leonard Woolf and E. M. Forster, we take a glimpse of the imperial gaze and colonial violence inflicted on the colonized. The capitalist economics of the British Empire exclude the body of the colonized and its specificity, while reproducing the stereotyped images of the colonized. However, Jessop`s narrative that focuses on Reynolds` quest for a `real life` while trivializing Celestinahami`s victimization in A Tale Told by Moonlight unveils a narrative lacuna. Similarly, Paul Pinmay`s pursuit of `the life to come` that is performed with his desire for power over Vithobai in Forster`s The Life to Come ultimately reveals a colonial porosity that ironizes the colonizer`s desire. The spectre of death that persists in both stories discloses the possibility of the subversion of the power relationship seated in the colonial quest. The ambivalent mimicry of the colonial paradigm by Celestinahami and Vithobai destabilizes Reynolds`s and Jessop`s as well as Pinmay`s racist and capitalist economy, revealing the Western characters` complicity with the imperial project. Woolf and Forster undo colonialism, adopting literary devices such as double narratives, irony, satire, and mimicry. They explore the dynamics of colonialism from the inside and disclose the violence of colonial desire and, at the same time, open up a possibility of subversive resistance from the colonized.

경계에 선 유대인 타자로서의 블룸

홍덕선 ( Dauk Suhn Hong ) 한국제임스조이스학회 2010 제임스조이스저널 Vol.16 No.1

This article discusses the anti-heroic protagonist Bloom as a Jewish other in Ulysses, who stands on the position of the racial-ethnic border between the Irish and the Jewish. From the beginning of the publication of Ulysses, Bloom`s ambiguous Jewish identity has been one of the major controversial discussions among the Joycean scholars. While the early Joycean scholars has, on the whole, accepted what Joyce said about Bloom`s Jewishness and developed their interpretation of Ulysses on the ground of it, some of the later scholars raised a serious questions about it. They have argued that Bloom is not Jewish by religious, anthropological, and social criteria. Against these arguments, this study emphasizes Joyce`s intentional ambiguity of Bloom`s Jewish identity, which generates the metaphoric significance of the modern wandering Jew in the post-colonial context of Ulysses. Like all important modernists whose works address postcolonial questions, Joyce was critical of the constraining oppressive constructs of selfhood that arouse from both colonial subjugation and the ethnoracial-nationalist programs that reacted against it. In confronting this binary, Joyce became interested in the interstices of racial, ethnic, gender, and nationalist identity. In his choice of the assimilated Irish jew as a hero of his work, he depicted the marginal ambiguous Jew as a trope for the doubly-colonized subject. In the Cyclops episode, Bloom`s ethnic identity was portrayed as the non-Irish Irishman as well as the non-jewish jew. The doubleness of his identity positions him as a socially marginal victim and scapegoat in the Catholic/nationalist community of Ireland as shown in the Cyclops episode.

우리시대의 『출항』

신광인 ( Kwang In Shin ) 한국제임스조이스학회 2010 제임스조이스저널 Vol.16 No.1

Almost 100 hundred years have passed after The Voyage Out was published and Rachel, the female character of it, died due to the patriarchal society. During the past years, suffrage and professions like lawyer were open to women. However, the patriarchal society and its language are not changed. Rather, the situation gets worse because `the voyage out` for self-realization of modern times has to be done on the global scale. As a result, this age produces many modern Rachels-female immigrants-who suffer from new society`s different languages and its impenetrable patriarchal power. In the new society, female immigrants are marginalized and so, lose their voices. They are forced to remain as `Others` in the periphery of society and are silenced. Though they came to the new society to realize their selves, the result is turned out to be opposite. As a result, they locked themselves in themselves more strongly and don`t try to get out of self-negation. To help them break out of that situation, the little language of Woolf is needed. As we know, the little language is composed of broken words, unfinished sentences, cries, gestures, and even nature. It embraces all the existences which were hurt and discarded by the patriarchal language. Accordingly, in little language, female immigrants become full of life as Rachel became a lively mermaid in the sea. Based on this, we need to pay attention to the little language again and acknowledge its value to heal the female immigrants` lives in this new nomadic age.