『율리씨즈』 조이스의 현대판 서사시

전은경 ( Eun Kyung Chun ) 영미문학연구회 2003 안과 밖 Vol.14 No.-

줄리안 반즈의 『 플로베르의 앵무새 』 의 리얼리티 읽기

전은경(Eun Kyung Chun) 한국현대영미소설학회 1999 현대영미소설 Vol.6 No.2

This paper will focus on the problem of the representation of reality, one of the most problematic issues in postmodern novels. This problem reflects the postmodern questioning of Realism and its ideological assumptions of authority, absolute truth, or universality, and so on. As an anti-Realist text, Julian Barnes` Flaubert`s Parrot challenges these assumptions of liberal humanism. This paper examines how Flaubert`s Parrot subverts the Realist ideas and their literary conventions by focusing on the problem of understanding and perceiving reality and its importance in finding the meaning of life (or life`s phenomena). For this examination three issues will be investigated: 1) the problem of representing history; 2) the problem of narrativity; and 3) the value of fictionality. Besides this, this paper will also explore the symbolic meaning of the parrot`s voice in this work and show how it confronts Gustave Flaubert`s realist claim of novelistic impersonality and objectivity. The examination of these issues will show that Realism`s tenet of the impartial representation of reality is found to be the closure of the meaning of reality in Flaubert`s Parrot.

『피네간의 경야』에 나타난 주체의 양상: 1권 6장의 뷰어러스와 카시우스 에피소드의 경우

전은경 ( Eun Kyung Chun ) 한국제임스조이스학회 2005 제임스조이스저널 Vol.11 No.2

「진흙」의 우화적 서술과 그 의미

전은경 ( Eun Kyung Chun ) 한국제임스조이스학회 2008 제임스조이스저널 Vol.14 No.1

The character of Maria in Clay is the product of Joyce`s vision of human beings and his highly sophisticated and complex narrative technique. The puzzle and the irony of the story is that the witchlike, poor, old, spinster, Maria, is the only character in Dubliners who is content with her life, though occasionally her suppressed desires seep out. Still she is called a veritable peace-maker. The limited third-person point of view strategy and the narrative mimicry of the third-person narrator reveal who Maria is and what she thinks. The narrative of Clay has a predominantly childlike tone which mimics the retarded and immature Maria. The noticeable childlike tone of the Clay is very similar to that of a fairy tale which would provide Maria with the fantasy world that the heroine of her song dreamt.` Though Maria, an inadequate being in her society, lives a lonely and miserable life at the laundry, she never falls into melancholy. The fable`s tone in Clay works as a defence for Maria from her harsh reality: it refuses to see the world as it is, and Maria feels safe within it. The defensive illusion woven by the words of a fairy tale not only blinds her but also animates her to sustain her hard life. Maria never awakens from her self-delusion, maintaining her childlike ways to the end of the story, and she never experiences an epiphany. However, Joyce never criticizes Maria for her blindfold narrative and for her imprisonment in her own illusions, though he portraits her ironically and pathetically. Joyce shows deep compassion for the miserable life Maria leads, though he, in resisting to idealize reality, named the story Clay.

『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.

애나 리비아 플루라벨의 물의 언어 - 『 피네간의 경야 』4 부 ricorso 장을 중심으로 -

전은경(Eun Kyung Chun) 한국제임스조이스학회 2001 제임스조이스저널 Vol.7 No.2

The language of Finnegans Wake is anti-patriarchal. Especially the female narrative in this text challenges patriarchal authority and mastery through her natural language. This essay examines the peculiar use of language in Anna Livia Plurabelle`s monologue in Book 4 of Finnegans Wake, so-called `ricorso` which is the last section of the work as well as the last stage of human history in Vico`s theory that provides the fundamental structure of the Wake. The final speech of the work is spoken by Anna Livia Plurabelle who embodies the archetypal female while her husband HCE embodies the masculine. As a river Anna Livia speaks fluid flowing around the dormant husband or the mountain lying near the river. She is old now and her voice is that of all-enduring and self-yielding woman. She recognizes her time has gone and she is ready to accept everything that life has given to her. Her final epilogue is sad but it also hints regeneration. As the sound of river Liffey her speech is lyrical and poetic and it is also soft and rhythmical like that of maternal voice. The flowing slipperiness of her words tends to elude patriarchal control and fixity. Two peculiar characteristics of her language as those of the female narrative are: one is the materiality of language which gives an emphasis on the sound of words rather than their meaning; the other is the strong lyricism. The verbal flexibility implied from these linguistic qualities of female words threatens the laws of language and thus the phallocentric authority. The female Eros, the chaotic and natural maternal feeling couterparts the male Logos, the aggressive and mastering masculine impulse. The spirit of liberation in her material and lyrical words becomes a life-force for the living. Here liberation means giving energy to the living, in other words, the liberation of the potential energy of the living. The language of the Finnegans Wake in general transgresses linguistic rules and goes beyond rationality. The chaotic mind of this text undermines the logocentricism. But it is a productive and energizing force for the living and it is suggested obviously by the female language.

제임스 조이스 문학에 나타난 더블린 풍경들

전은경 ( Chun Eun Kyung ) 숭실대학교 인문과학연구소 2017 인문학연구 Vol.46 No.-

서구의 모더니스트 작가들은 작품의 배경과 소재를 전원보다는 도시에서 찾았다. 서구현대문학의 초석을 다진 조이스 역시 순전히 도시작가이다. 그는 도시가 지닌 지형과 역사에 각별한 관심을 보였고 도시는 그에게 그곳에 거주하는 사람들의 삶과 역사가 축적된 커다란 저장소로 생각되었다. 제임스 조이스는 평생 작가생활을 유럽의 여러 도시를 옮겨 다니며 했지만 그의 작품의 배경은 한결같이 모국 아일랜드의 더블린이며 더블린의 실제 건물들과 거리이름들이 작품에 사실적으로 꼼꼼하게 제시되었다. 첫 단편소설집인 『더블린 사람들』부터 그의 모든 작품에는 아일랜드의 역사가 밀도 있게 들어가 있는데 영국의 식민지였던 아일랜드의 식민지역사와 그 역사가 아일랜드 민족에게 남긴 정신적 상흔에 대하여 독특한 서술방안으로 기술하였다. 식민지 통치하에 영국의 정치.경제적 억압 외에 조이스에게 중대한 정신적 억압으로 여겨졌던 것은 아일랜드국교인 로마가톨릭 종교였다. 수세기에 걸친 정치적.종교적 억압은 아일랜드인들에게 정신적 폐해를 초래했고 조이스 이것을 “마미”(“paralysis”)라고 불렀다.『더블린 사람들』에 수록된 15개의 단편소설들 중에서 네 개의 단편을 중심으로 더블린이라는 도시가 작품에서 어떻게 구현되었으며, 이 도시가 체험한 역사와 “마비”의 주제를 조이스는 어떻게 문학적으로 형상화했는지 살펴보고자 한다. Though James Joyce is an exile from the city he continually seeks to recreate Dublin in all of his literary works. When Joyce wrote Dubliners Ireland underwent a disastrous historical period as a colonized country. The colonized society of Dublin reflects the history of the colonial power. Joyce recorded the damaged city and people who lived there in Dubliners. For Joyce Dublin is a city in which people are trapped by British imperialism and Roman Catholicism and he wanted to have “one good look at themselves in my [his] nicely polished looking glass” in his Dubliners. Joyce saw it as the first step towards the spiritual liberation of his country. For Joyce writing was both a creative act and an act of liberating. Joyce, as a literary artist, attempted to achieve “spiritual liberation” of Ireland and redeem the cruel history of Ireland through his language and vision. In this writing Joyce’s portrayal of Dublin is explored through four stories, ‘The Sisters’, ‘Araby’, ‘Two Gallants’,and ‘The Dead’ in Dubliners.

『피네건의 경야』1권 6장의 묵스와 그라입스 에피소드 일기

전은경 ( Eun Kyung Chun ) 한국제임스조이스학회 2004 제임스조이스저널 Vol.10 No.1

The encounter theme is one of the main subjects in Finnegans Wake and it is pursued constantly through the text. In Finnegans Wake there appear several of important racial encounters between the native Irish and the foreign invaders from the Europe from the primitive age to the modern age. And the fable of `the Mookse and the Gripes` illustrates such an encounter as the encounter between the Irish and the English in the year of 1171 when English King Henry Ⅱ invaded Ireland. Ireland was ceded by the Pope(Pope Adrian) to Henry Ⅱ of England in the 1150s. The age of imperialism began after that time and it has continued over 700 years. Because of the colonial state of his country the theme of national, ethnic, or racial identity is almost constantly before us in all of Joyce`s works. In the fable of`the Mookse and the Gripes` Mooks represents the English King Henry Ⅱ as well as Nicholas Breakspear(Pope Adrian Ⅳ) while the Gripes combines the Irish and Lawrence O`Toole, the bishop of Dublin at the time of Henry`s invasion, 1171 A.D. The confrontation between the invader and the native provoked multi-levelled arguments such as theological, political, and even brother battle resulting from their different positions. And these polarized rival forces became more complex with the entry of their sister, Nuvoletta(Issy) at the end of their arguments. She tries in vain to use her charms to reconcile the Mookse and the Gripes in her own female discourse. When darkness comes, the twin are transformed into Pope`s handkerchief and a butcher`s apron and they are carried off by two washing women. Nuvoletta, a little cloud-girl became raindrops and fall into a river. Nationality, religion, and language are the nets from which Stephen in A Portrait declares he will escape. Joyce`s attitude of the repudiating British and Roman imperialisms and rejecting Irish nationalism are reflected in the fable of the Mookse and the Gripes. Joyce realizes this especially through the radically experimental writing of Finnegans Wake whose language contributes to an ultimate degree of openness in our understanding of history by resisting the authorized canons and totalizing structures.

부활절봉기와 아일랜드성: 아이리스 머독의 『적과 녹』을 중심으로

전은경 ( Eun Kyung Chun ) 한국제임스조이스학회 2012 제임스조이스저널 Vol.18 No.1

The Red and the Green depicts the 1916 Easter Rising in Ireland and political tensions in the Anglo-Irish family. The Anglo-Irish have a dual identity as both Irish and English, while being regarded as neither. The red and the green of the novel`s title implies the opposing forces between the British side and the Irish side that exist between members of the Anglo-Irish family in the novel. The opposition of the two sides is most apparent in their temperamental differences. Within the microcosm of this family, the members of the Irish side seem to be more passionate, robust, alive, and capable of both greater emotion and greater flaws than the members of the English side, who appear more reserved and rational, but dull and sterile. The novel shows the Irish patriotism of the Anglo-Irish in the Easter Rising, of which some doubtful, and about which some were enthusiastic. Andrew and his Irish cousin, Patrick Dumay, embody this dichotomy. The Easter Rising in The Red and the Green can be read as the resurgence of Ireland`s national aspirations in its long struggle to attain nationhood as well as to define the reshaped Irish national spirit. In the novel, a particular aspect of Irishness, which is distinguishable from Englishness (or Anglicized culture), is implied through one of the major two leaders who plays a key role in the Easter Rising: Patrick Pearse, the mystic poet, Gaelic scholar, and leader of the Irish Volunteers, and not James Connolly, a leader of the social revolution and Irish Citizen Army. Pearse`s emphasis in the Easter Rising is on martyrdom, which is manifested in the humanized symbol of Ireland as Kathleen ni Houlihan, a sad old woman, who calls on her Irish sons to go out and die for Ireland. The image of martyrdom contains within it the dark and mysterious force which Andrew always fears. The dark force works as a key spirit which Patrick Pearse invokes and Pat Dumay embodies through his patriotic fervor in the Easter Rising. Emotionally, Pat is tied deeply to Ireland and to Catholicism, and he is fiercely devoted to the national cause. Despite his distaste for the sentimentality in Patrick Pearse`s address, he finds the opportunity to make a final sacrifice giving up his life for Ireland. Christopher Bellman, the intelligent and most judicious English person in the novel, who has an intellectual interest in Ireland and a sympathy for the Irish history and people, used to regard this Irish spirit as insane, but when Christopher confronts the Rising, he joins the insurrection and pays a high price with death. While Andrew fears the irrational attraction of Ireland, Christopher is profoundly moved by it.

선(善)에 이르는 길 - 아이리스 머독의 『바다여, 바다여』를 중심으로

전은경 ( Chun Eun-kyung ) 숭실대학교 인문과학연구소 2011 인문학연구 Vol.41 No.-

Morality is a centering subject in Iris Murdoch’s works and the ethical perspective of what is the goodness is deeply implicit in her literary as well as philosophical works published during the 1970s. Iris Murdoch's The Sea, The Sea is a philosophical and religious novel with full of mysticism and hermoral vision from the perspective of good and evil is explored in it. Though thenarrator is Charles who is a retired theatre director, his cousin, James, areligious mystic with Buddhist beliefs, becomes the focus for the moral and religious thought in the novel. Though Charles has achieved worldly success heis a deeply frustrated man who is an egotist and lacks moral concepts. James tries to help him to renounce his solipsism implying a moral vision of the essential goodness. The question of goodness in The Sea, The Sea is related not only with the subject of solipsism but also with that of power. For Charles an art has become a “magic" or “trick" and a means of wielding his power. James tells Charles that the core of goodness lies in giving up power surrendering his “magic". But as Murdoch referred to him, James is a “lost soul" too. James has confessed Charles he sacrificed a Sherpa's life in the process of exercising his paranormal power for his own worldly use. Like Charles, James has an experience of attempting a magic(a trick) and power for others in his own way. But James fully recognizes the danger of exercising power and understands its consequences. At the end of the novel Charles adopts James's position toward the goodness though the traces of his old self still remains.