캘러번의 분노 : 조이스의 작품에 나타난 인종 재현의 문제 Problems of Racial Representations in Joyce's Work

남기헌 한국영어영문학회 2004 영어 영문학 Vol.50 No.1

James Joyce must have been aware of the emergence of nationalism at the turn-of-the-century Europe, when he was in exile on the continent, In Trieste, Joyce witnessed irredentism, the Italian nationalist movement that claimed the lost territory of old Italy from its Austrian occupation. In Ireland, radical nationalism also emerged with ideas of racial purity as a means of rejuvenating Irish national identity, promulgated by Arthur Griffith. Some critics like Vincent J. Cheng have pointed to the relationship between race and empire, but most of them ignore the subtle perversion of racism and imperial ideology in Irish popular culture. By delineating Leopold Bloom af racial Other. Joyce explores racial prejudices and nationalist radicalism in Ireland. Joyce's interest in race must have been related to the British colonial occupation of Ireland, but it seems that he tries to understand the problem of Irish 'race' in the larger context of European culture. In this sense, Bloom does not only embody European prejudices against the Jew, but also enunciates problematic ideas of the purity of the Irish 'race.' Joyce's double-edged critique of racial representations reveals that the British denunciation of the Irish race as savage is only constructed as a way of colonizing Ireland and, furthermore, that Irish radical nationalists do the same thing against the racial Other, for example, the Jew. Joyce's critique of racial prejudice permeated in the imperialist ideology leads us to the theater, a cultural arena in which racial presentations of the black tend to reproduce the prejudices. In addition, British and Irish journalism do the same thing. But Joyce does not forget to mention the racial prejudice that permeated the nationalist ideology in Ireland, in which radical nationalists tried to purity Ireland or racial others. In conclusion, Joyce criticizes Imperialist representations of race as arbitrarily and ideologically constructed.

참여하는 열린도정

남기헌 충북연구원 2010 충북Issue & Trend Vol.- No.2

감시와 복종 : 조이스와 경찰 Joyce and the Police Gaze(tte)

남기헌 한국현대영미소설학회 2003 현대영미소설 Vol.10 No.2

It is already an axiom that the spiritual paralysis of Dubliners is ascribed, at least partly, to the British occupation of Ireland. One of the “ideological state apparatuses” that sustained the colonial presence of the British empire in Ireland was police. It is necessary to understand the structure and history of police in Ireland. In turn-of-the-century Dublin, police functioned as a colonial force for surveillance rather than for maintenance of order. It consisted of Royal Irish Constabulary and Dublin Metropolitan Police. In Ulysses, which deals mainly with the life of Dublin, the latter is more relevant. The dual structure of Irish police was based on the colonial strategy that purported to reinforce the surveillance of Irish people. DMP recruited Catholic laymen from the country in order to avoid parochial affinity and to facilitate colonial surveillance. DMP expanded its organization, thus initiating G-division, whose main purpose was to gather information about Irish nationalist movements. The first reports of DMP on urban crimes in 1838 indicate that Dublin was a lawless city, full of crimes. But this disorder seemed to result from police actions focusing on oppressing Irish demands for political independence and economic prosperity. Actually those crimes were minor and venal, because they were related to poverty and alcoholism. Despite these situations, DMP reinforced its surveillance by increasing the number of G-men. In the “Lestrygonians” episode of Ulysses, Joyce presents policemen as the mythological figures--Lestrygonians, man-eating monsters. Blooms thinks of them as serving the upper class that were pillars of the British empire. In Dublin, all people were under colonial 30 surveillance, since nobody could know who works as an informant for DMP or Dublin Castle. Corny Kelleher appears to interfere in the fight between Stephen and men in uniforms as if he were an authority. He is suspected as an informant for DMP, because his job, undertaker, was listed as one of the jobs provided to after-service informants. This skepticism or disbelief was a social malady, which encroached on the Irish soul. Joyce insinuates that this panoptic surveillance maintained by police is represented by a popular magazine, the Police Gazette. A gazette means a magazine published by an official organization for public announcements, but Joyce plays with the word, gazette, by reminding us of “little gaze.” In other words, Joyce recognizes that the presence of panoptic surveillance reinforces colonial domination and political subservience among Irish people. To Joyce, police is a physical organization, which not only suffocates the Irish soul by producing mutual suspicion, but also controls the Irish body with legal principles. This explains why the presence of police in Joyce's work is powerful, even though it is not conspicuous.

충북의 균형발전방안 소고

남기헌 충북연구원 2010 충북발전연구원 학술세미나 Vol.- No.-

『슬픈 아일랜드』의슬픔에 관하여

남기헌 영미문학연구회 2002 안과 밖 Vol.13 No.-

기초지방자치단체 자율통합 ; 국가발전 시너지 효과 창출 위한 시대적 흐름

남기헌 대한지방행정공제회 2009 地方行政 Vol.58 No.671

Potato and Tea: Colonial Commodities in Joyce’s Work

남기헌 한국제임스조이스학회 2012 제임스조이스저널 Vol.18 No.2

Of the merchandises frequently mentioned in Joyce’s work, the most distinguished two are potato and tea. Much attention has been paid to the role of the potato, since Bloom carries it with him during his odyssey, but tea is relatively neglected, perhaps because it is related to minor characters such as Haines and Mr. Kernan. But we must heed to Joyce’s strategic deployment of these commodities. Tea is a reminder of the British colonialism, in such countries as India and, extensively, South Africa. Haines’s nightmare about shooting the black panther can be explained when we understand the role of the planter sahib in tea-growing plantations in India, because there were a lot of possibilities of confronting wild beasts in tea plantations. Haines’s fear of the blank panther is a reenactment of the fear of the planter sahib about wild beasts. In addition, the reason why Haines carries a gun with him is that the English people were anxious about the Wild Irish, which was also derived from their experience of land agitations as well as the potato famine in Ireland. Bloom’s shriveled potato is an heirloom from his dead mother. It functions as a reminder of the potato famine, as well as a signifier of popular belief in its efficacy as a protection against pestilence. So potatoes are related to the poverty and malnutrition of the Irish underfed family, especially the Dedaluses. By referring to who brought potato into Ireland, Joyce adroitly deploys the history of colonial domination during the Tudor dynasty. He also implicitly emphasizes the responsibility of the British government for the potato famine in Ireland. In addition, by juxtaposing Bloom’s mother’s trinkets with the potato, Joyce shows his awareness of fetishism in these commodities. So the last word of Finnegans Wake implies tea in French, le thé, which is related to the river, Liffey, life in Irish. So Joyce’s strategic deployment of these colonial commodities reveals the pervasiveness of colonial discourse as well as the life-giving power of his homeland.

참여하는 열린도정

남기헌 충북연구원 2010 충북Issue & Trend Vol.- No.2

The Econony of Desire in Nausicaa

남기헌 한국제임스조이스학회 2003 제임스조이스저널 Vol.9 No.2

나시카장에 나타난 욕망의 경제 남기헌 제임스 조이스의 율리시즈에서 젠더(gender)의 문제는 특히 여성 등장인물에게 집중되어 있는데, 몰리를 제외한 다른 여성들 중에서 나시카장의 거티 맥도웰(Gerty MacDowell)이 가장 주목할 만한 인물이다. 하지만 대부분의 비평가들은 블룸과 거티의 성 정치성(sexual politics)의 입장에서 접근하고 있어, 거티의 욕망이 형성되는 사회, 경제적 구조에 대해서 도외시하고 있다. 따라서 본 논고에서는 자본주의시대의 여성의 욕망과 성 정체성의 관계를 살펴보고자 한다. 우선 스타일의 측면에서 전반부의 거티의 내러티브 스타일과 후반부의 블룸의 내러티브의 스타일이 마치 여성성, 남성성을 대변하는 것처럼 여기지만, 둘 사이의 성 정치성의 경쟁이라기보다는 각 젠더의 상호작용을 나타내고 있다고 본다. 즉, 여성성도 단순히 남성성의 대치개념으로 이해하기보다는 상호작용 속에서 형성되며, 남성성 또한 독자적인 공간속에 존재하는 개념이 아닌 것이다. 나시카장의 주인공 거티 맥도웰은 아일랜드의 카톨릭의 종교이념아래서 성장한 사춘기의 소녀이며, 동시에 영국의 빅토리아 왕조의 통속문화의 산물이기도 하다. 따라서 그녀는 조이스가 그리고 있는 아일랜드의 여성성을 당시의 베스트셀러 소설이었던 마리아 커민스(Maria Cummins)의 가로등점등원(The Lamplighter)의 주인공 거티 플린트(Gerty Flint)가 담아 내고 있는 대중문화 속의 여성성도 함께 거티를 통해서 보여주고 있다. 거티는 자신을 상점의 전시대에 진열되어 있는 상품처럼 물화하기도 하며, 사실상 적극적으로 욕망의 경제 속에 참여하고 있다. 그러므로 거티가 표현하는 여성성은 단순히 남성의 욕구가 투영된 물화(fetishization)된 것이 아니라, 블룸의 남성의 응시(the male gaze)에 오히려 적극적인 참여를 통해 남성중심의 욕망의 경제에 중요한 분기점(nodal point)으로 작용하고 있다. 욕망은 궁극적으로 언어 재현의 체계이기 때문에 열린 결말을 가진 기표의 연쇄이다. 따라서 유일한 욕망의 만족은 과정 그 자체인 것이다. 이러한 욕망은 과정 자체가 중요시되는 경제적 틀 안에서 이해되어야 한다. 반면에 블룸의 남성적 응시는 단순히 여성을 물화하는데 그치지 않는다. 왜냐하면 거티와 블룸사이의 욕망의 교환은 상호응시에 의해 가능하며, 이러한 상호 응시는 관음증적 주체와 노출증적 객체사이의 만남이다. 하지만 여기에서도 주체와 객체의 구분은 사실 모호하다. 왜냐하면 욕망의 경제는 과정 자체가 중요하기 때문에 상호응시에 의해 이루어진 각자의 욕구충족은 그 자체가 결과이기도 하기 때문이다. 자신을 물화하면서 얻어진 성적 욕구의 실현이나 대상에 대한 응시를 통해 얻어진 만족감은 서로 공유하고 있는 부분이 있으며, 동시에 공유될 수 없는 부분이 존재하기 때문이다. 따라서 이분법적 틀로 남성과 여성의 욕망을 재단하는 일은 무리가 있음을 조이스는 인식하고 있는 것이다. 따라서 거기엔 성 정치성에 의해 규정된 종속이나 상하위 개념은 존재하지 않고, 끊임없는 기표의 생산만이 남게 되는 것이다.

청주ㆍ청원 광역행정의 부문별 과제와 단계별 발전전략

남기헌 한국도시행정학회 2003 한국도시행정학회 학술발표대회 논문집 Vol.- No.-