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윤성호 한국중앙영어영문학회 2011 영어영문학연구 Vol.53 No.2
Is Joe Christmas, protagonist of William Faulkner’s 1932 Light in August, neither “black” nor “white,” or both “black” and “white”? Taking its cue from such a tricky question, this articles examines how Joe Christmas becomes an undecipherable sign of race in the South that lays bare both the black self-conscious experience of irreducible psychological, cultural division and the white’s delusion of psychological, cultural autonomy. His presence as a particular reference to miscegenation not only refuses a racial categorization that flattens him into a presence of one or the other color but also illustrates the ways in which blackness and whiteness identify themselves in terms of what they are not while potentially undermining themselves insofar as their identities depend on a relationship with the potentially confrontational other for their constitution. Viewed in this light, Joe Christmas is “raced” as all the racial anxieties and hysteria of the South are projected onto his body. Yet, he is also “unraced” by becoming a haunting trope of nothing that calls into question all the claims to a fixed and stable racial identity.
윤성호 문학과영상학회 2011 문학과영상 Vol.12 No.4
Suburbia Without Apology: Suburbanites on and off the Road in Sloan Wilson’s The Man in the Gray Flannel Suit (1955) and Its Cinematic Adaptation This article aims at teasing out the antisuburban sentiment as one of the most unexamined attitudes in American culture and bringing into legibility an as-yet-unexplored-face of the postwar suburbs. To that end, it examines Sloan Wilson’s The Man in the Gray Flannel Suit and its cinematic adaptation through the lens of a deceptive mobility invested with remarkably durable symbolic meanings in American mythologies. The suburbs have functioned historically as a crucial gathering place for middle-class suburbanites, not only in the passive sense that they have ended up there but also in an active sense that the suburbs have helped them secure the belief in the fresh start and new beginning. Accordingly, one can identify a distinct way in which something peculiarly dislocated or unlocatable typifies the suburban experience of the American middle class, which reveals a liminal state of stasis fused with underlying imagined mobility. Both the novel and the movie may have succeeded in making themselves as the quintessential embodiment of the 1950s in chronicling the American way of life in the 1950s, but have never reached a point where the suburbanites’ deceptive mobility is utilized as a yet unrealized possibility of utopian energy in American myth of space. Scarcely constructing a scaffolding as a means toward effecting a critique of dominant cultural norms in the 1950s, the ambiguous ending not so much challenges the familiar image of mobile Americans but reproduces them. The Raths’ journey home is thus reinscribed at just the point it is supposed to end, without developing a new kind of roots to replace what they have left behind.