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『운전 배우기』와 『롤리타』: 소아성애자의 도덕적 성장
고득임 한국중앙영어영문학회 2015 영어영문학연구 Vol.57 No.2
This study aims to compare Paula Vogel’ play How I Learned to Drive and Vladimir Navokov’s novel Lolita. In an interview, Vogel said her play, How I Learned to Drive is the homage to Lolita. Therefore their works have correspondences such as adopting the pedophilia as a principle subject, but How I Learned to Drive has a woman narrator, Li’l Bit and Lolita has a man narrator, Humbert. The former is a victim in the sexual abuse, and the latter is a victimizer. In order to dramatize the characterization, two works show differences such as writing techniques, sequences of retrospection, readers’ response and the ending of works. By interpreting Lolita, Vogel as a female writer manages to render Li’l Bit independent and alive unlike Lolita. The adult males’ (Peck and Humbert) early love toward girls (Li’l Bit and Lolita) is tinged with pedophiliac tendency, but gradually, they achieve a moral growth of real love by repenting their vices and asking for the forgiveness from the bottom of their hearts. Peck destroys himself in drink and Humbert shoots Quilty who is considered his double self and shadow for being forgiven. Ironically, while Li’l Bit condones Peck’s vice, she finds her fault which is the ‘Implied Consent’. Like her saying, “I would say that we can receive great love from the people who harm us. My play dramatizes the gifts we receive from the people who hurt us”, she describes Li’l Bit gets psychologically hurt but she learns a defensive driving for her own life from Peck.
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모리슨의 하느님 이 아이를 도우소서: 교차적 억압과 자아정의
고득임 한국중앙영어영문학회 2019 영어영문학연구 Vol.61 No.1
The purpose of this paper is to investigate the Black woman’s empowerment in Toni Morrison’s God Help the Child (2015). Kimberlé Crenshaw coins the term “intersectionality,” referring to particular forms of multi-faceted oppression towards Black women in the U.S. Patricia Hill Collins advances Crenshaw’s concept in order to describe how concretely these intersecting oppressions are organized. Since they are diversely situated in structural, disciplinary, hegemonic, and interpersonal domains of power, Black women undergo intersecting oppressions of identity politics such as race, gender, sexuality, class, and nation. In God help the Child, Bride, a Black heroine, suffers intersectional oppressions such as racism, colorism and child abuse. Endeavoring to achieve self-definition in her life, Bride, the active and positive Black woman, does not refuse to face problems. Bride achieves her self-definition in the process of searching her broken lover, Booker. In that journey, she realizes complete self-definition, which includes self-reliance, independence, as well as the respect of self and others by interacting with White couple, Rain and Booker. Exemplified by Bride, Morrison illustrates how important it is for a Black woman to empower through Collins’s concept of self-definition.
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