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        • KCI등재

          Errancy in Ulysses and Jacques Derrida`s Deconstruction

          Kim,,Eun-Sook 한국제임스조이스학회 2001 제임스조이스저널 Vol.7 No.1

          『율리시즈』는 정확하고 일관성이 있는 것처럼 보이나 사실 많은 실수가 내재해 있다. 실수는 어디에나 있으며 사물들은 엉뚱하게 잘못되어 가는 경향이 있다. 자끄 데리다의 말대로 해체주의는 사상도 아니고 개념도 아니고 다만 읽기의 전략이라고 하였다. 이러한 데리다식 자세한 글읽기를 통하여본 논문에서는 그 동안 이분법적 서구 형이상학에서 열등한 것으로 가리어져 왔던 실수의 문제를 조이스가 어떻게 전략적으로 사용하여 데리다가 주장하는 해체주의 이론인 중심의 해체 및 유희를 유발하며 이로 인하여 텍스트의 의미파악을 어렵게 만드는지를 조사하며, 또한 이 실수의 문제가 어떻게 데리다의 "차연"의 개념에 일치하는지 밝힌다. 조이스가 전략적으로 사용하는 각종 실수 -활자상의 실수, 언어의 전달의 문제에서 생기는 실수, 인물들의 실수- 중 언어의 실수가 매우 중요한데 『율리시즈』에서 언어는 잘못되어 빗나가는 경향이 있으며 정확한 의사전달을 방해한다. 언어상의 실수는 언어의 안정성과 가치에 대한 의문을 제기하는 데리다의 해체주의 사상이 이미 조이스의 텍스트에 나타나는 것이 된다. 언어의 실수는 인물들의 불분명한 identity와 밀접한 관계를 가지고 있다. Bloom의 이름에서 m이나 1의 탈락은 그의 identity의 모호성을 나타내는 것이다. 모든 인물들의 이름은 문자로 형성되어 있으므로 문자의 손실은 인물들의 identity를 모호하게 한다. 문자가 불안정하여 손실되면 자동적으로 문자로 이루어진 단어와 인물 그리고 더 나아가 텍스트의 identity가 모호해진다. 여기에 sound의 첨가는 실수를 더욱 더 만연하게 만들어 이로 인해 더욱 텍스트의 의미를 텅 비게 만든다. sound를 불완전하게 창조하기 의해 쓰인 문자들은 더욱 실수와 혼란을 독자에게 가중시키기 때문이다. 그러나 조이스에서 실수의 문제는 Stephen이 선언하듯 발견의 창구가 되기도 하는 것이다. 어떤 실수들은 사실로 이끌 수 있다는 조이스의 암시에 빛을 밝힌다. Mulligan의 실수 또한 언어의 모호성으로부터 기인하는데 그러나 그의 실수는 완전히 잘 못 된 것이 아니다. 왜냐면 Milly는 어떤 의미에서는 그가 실수한대로 "photo girl"이다. 표준 글쓰기가 주는 진지성 및 압박을 흐트러뜨리고 독자에게 웃음을 자아내는 것은 조이스의 해체적 글쓰기의 중요한 효과이다. 실수로 흔동하는데서 우스꽝스러운 일이 벌어지는데 이는 jouissance의 해체적 효과를 나타낸다. 조이스가 의도적으로 새겨 넣는 모든 종류의 실수로 인하여 인물들이 실수를 하듯 독자 또한 율리시즈를 잘못 해석하며 혼돈과 실수로 오류를 범하기 쉽다. 중요한 것은 실수를 새겨 넣음으로써 조이스는 독자로 하며금 텍스트에 더욱 집중하여 주의 깊게 읽게 하는 것이다. 독자는 실수와 오자 투성이의 텍스트를 읽으며 자신도 저지르는 해석상의 실수와 오판을 그 선행문구들을 다시 읽게되면서 교정하기도하고 한다. 확정적인 의미를 거부하는 조이스의 텍스트는 이런 면에서 독자의 적극적인 참여를 유도하며 그의 글쓰기는 새로운 독자를 요구한다. 실수의 문제를 사용한 조이스의 텍스트는 데리다의 "차연"과 일치하는데 이는 독자의 텍스트를 이해하려는 욕망이 계속 연기되기 때문이다. 이로 인해 독자는 더욱 더 텍스트에 매이게 된다. 『율리시즈』는 데리다의 말대로 시체를 해부하듯이 텍스트를 자세하게 분석하며 읽고 또 읽기를 반복하는 세밀한 글 읽기가 요구될 뿐이다.

        • KCI등재

          조이스와 쓰레기의 미학

          민태운 한국제임스조이스학회 2018 제임스조이스저널 Vol.24 No.1

          This study examines how extensive trash is in Joyce's works, how close the relationship between his literature and trash is, and how significant this is in his aesthetics. Probably, Mr. Duffy in “A Painful Case” lives the farthest away from the world of trash. The hidden overripe apple in his desk symbolizes his abhorrence of trash. His orderly and austerely furnished room reflects his monkish habits. On the other hand, rejecting the priesthood, Stephen in A Portrait of the Artist as a Young Man accepts his vocation as an artist. The bird-girl wading the sea serves his epiphany and the seaweed attached to her leg will appears as trash in Ulysses, as if to suggest that his art would be closely connected with it. Stephen confronts the world of trash while walking along the beach at Sandymount strand in Ulysses. The beach is a place of deposition, heavy with waste. Stephen compares sands with language; the objects scattered there are the signs to be read. Joyce's art will be about these objects accumulated from the past. It is worth noting that the distinction between “letter” and “litter” collapses here. Joyce writes that his head is full of rubbish, and this connection between waste and mind is illustrated in Finnegans Wake. The mind of Shem, possible avatar of Joyce, is described as the seashore full of flotsam and jetsam. It is interesting to see that the landscape of the artist's mind is similar to the littered shoreline as mentioned above. Further, Shem's literary output is associated with the excrement of his body. The relationship between these two is emphasized when Bloom defecates while reading a story in the jake. Here Bloom's dung is confused or almost identified with the literary work. Joyce can be compared to the writer of the letter in Finnegans Wake who had “to see life foully,” to present life fully no matter how foul it is. He writes in his letter, “the odour of ashpits and old weeds and offal [hang] around” his stories, and this shows his desire to tell the truth as he saw and smelled it.

        • KCI등재

          물의 우화: 「이타카」 장에 나타나는 예술가의 초상

          강서정 ( Seo Jung Kang ) 한국제임스조이스학회 2014 제임스조이스저널 Vol.20 No.1

          James Joyce addresses his calling as an artist through the parable of water in the “Ithaca” episode of Ulysses. An idealistic concept of an artist is in the harmony of the opposites. In other words, an artist has the ability to grasp the similarities between seemingly conflicting qualities. Furthermore, the artist has the ability to connect the opposites; as currents of water flowing from all directions meet in the sea, the artist is able to blur all kinds of boundaries. This attribute of water or Nature is reflected in the characterization of Bloom, his opinion of Molly, and even in the narrative style of “Ithaca.” The author also considers vulgarity along with economic and sexual interests as innate traits of human beings. The characterization of Stephen or Bloom may indicate Joyce's internal struggle between materialistic concerns and transcendental ideals. While Bloom mentally roves in regard to Molly's adultery, his consciousness embodies the rhythms of nature: the rhythms of sexual organs or of the heart, which pumps blood throughout the body. He finally makes peace with conflicting pairs-such as the body and the spirit, the real and the ideal-in that process. Bloom comes to life as an artist again by accepting Molly's sexual energy and by confronting human conditions as they are. Joyce presents a portrait of an artist who is the most realistic and sincere in history through the parable of water or the order of Nature.

        • KCI등재

          Becoming-Prose of Our Love: On Joyce and Derrida

          ( Suk Kim ) 한국제임스조이스학회 2011 제임스조이스저널 Vol.17 No.2

          Few perhaps need to be reminded as to how much Joyce`s writings influenced Derrida and how the latter`s philosophical enterprise known as deconstruction continued to draw its inspiration as well as strategies from the ``revolution of the word`` initiated by the former; indeed, the two essays explicitly foregrounding Joyce`s works (“Ulysses Gramophone” and “Two Words for Joyce”) constitute only a more overt testament to the pivotal position occupied by Joyce in the extended trajectory of Derrida`s thinking starting out from his initial essay on Husserl (“Introduction to The Origin of Geometry”) and culminating in his final 2003 seminar (“The Beast and the Sovereign, Volume II”), in both of which the Irish author receives more than a passing mention. Rather than, however, examining the proximity between the two representative figures of modern literature and philosophy in general terms, the present inquiry focuses on one central topic which apparently has never received proper attention hitherto: love. How does Joyce`s problematization of love in Ulysses, for instance, makes us rethink about Derrida`s flitting remark on the same topic in The Post Card? And how in turn does Derrida`s differential insight force us to reinterpret Joyce`s thematization? Though only coincidental at first, both writers` engagement with the topic will turn out to show that they have more in common as their respective approach attempt to reach the same end albeit from radically incommensurable tradition and geopolitical positionings.

        • KCI등재

          Becoming-Prose of Our Love: On Joyce and Derrida

          김석 한국제임스조이스학회 2011 제임스조이스저널 Vol.17 No.2

          Few perhaps need to be reminded as to how much Joyce's writings influenced Derrida and how the latter's philosophical enterprise known as deconstruction continued to draw its inspiration as well as strategies from the ‘revolution of the word' initiated by the former; indeed, the two essays explicitly foregrounding Joyce's works (“Ulysses Gramophone” and “Two Words for Joyce”) constitute only a more overt testament to the pivotal position occupied by Joyce in the extended trajectory of Derrida's thinking starting out from his initial essay on Husserl (“Introduction to The Origin of Geometry”) and culminating in his final 2003 seminar (“The Beast and the Sovereign, Volume II”), in both of which the Irish author receives more than a passing mention. Rather than, however, examining the proximity between the two representative figures of modern literature and philosophy in general terms, the present inquiry focuses on one central topic which apparently has never received proper attention hitherto: love. How does Joyce's problematization of love in Ulysses, for instance, makes us rethink about Derrida's flitting remark on the same topic in The Post Card? And how in turn does Derrida's differential insight force us to reinterpret Joyce's thematization? Though only coincidental at first, both writers' engagement with the topic will turn out to show that they have more in common as their respective approach attempt to reach the same end albeit from radically incommensurable tradition and geopolitical positionings.

        • KCI등재

          John Fowles의 문학과 전후 영국소설의 실험성 : 조이스의 영향을 중심으로 Joyce's Influence on the New Concept of Authorship

          홍덕선 한국제임스조이스학회 2003 제임스조이스저널 Vol.9 No.2

          "The Death of the Author" is one of the most controversial issues in the literary world in the later half of the 20th century. The author is traditionally considered as a creator of a work. In that sense, the author is the actual agent of meaning, and he is responsible for the production of the sequence of events as a whole. In general, he represents the governing consciousness of the work as a whole, and he is the source of power, intelligence, and even moral standards. In the 1060s, however, a new concept of the author was suggested that he is the effect of the language on the reader rather than a subject's consciousness or persona. Joyce's fiction has once supported a modernist myth: the myth of the narrator's impersonality, which is however, only an illusion. For example, in his polystylism and parodic narrating manner of Ulysses, the narrator's structural presence cannot be accepted as the rationale for the book's arrangement. John Fowles also continually experimented a new concept of authorshipa as existence and writing in the sequence of his novels. He presents in his works the passivity of the authorial process, its reliance upon combinations of a cultural repertoire of conventions. All of these explanations are depended upon Barthes, Foucault, and Joyce, all of whom argued the conversion of the author from an absolute entity to a textual strategy.

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