“불명예는 피로만 씻어낼 수 있다” : 파디아 파키르의 『내 이름은 살마』에서 그려지는 유목적 이름 되찾기 그리고 죽음으로의 귀향

차희정 ( Cha¸_ Heejung ) 동국대학교 영어권문화연구소 2020 영어권문화연구 Vol.13 No.3

Following Rosi Braidotti's notions of nomadic theory and feminist subjectivity, this paper explores Jordanian British writer Fadia Faqir’s My Name is Salma. This postmodern, feminist, nonlinear narrative revolves around the story of a Muslim woman who is pregnant out of wedlock and sentenced to death by her traditional Bedouin tribe and family. In the face of this threat of honor killing, leaving her baby behind, Salma is smuggled to a convent in Lebanon and then exiled to Exeter, Britain. There, as a migrant Muslim, Salma is renamed Sally and goes through a process of making a new identity. Nonetheless, Salma/Sally is not only haunted by past experiences in the old country, the Levant, but also suffers cultural assimilation, racial discrimination, and religious conflict in the new country, Britain. Eventually, as a British citizen, Sally returns home and reclaims her lost daughter Layla, synonymous with her lost name in the Levant; as a Bedouin Muslim, Salma cannot escape her cultural fate and is shot by her brother in the name of family honor. Considering Salma/Sally's experience in-between the East and the West, this paper focuses on her as a nomadic feminist subject - a focus on her becoming which is incomplete yet unyieldingly in its progression.

무슬림 제인 에어와 개종한 오리엔탈리스트의 낯선 로맨스: 레일라 아부렐라의 『번역가』

차희정 ( Heejung Cha ) 한국영미문학페미니즘학회 2018 영미문학페미니즘 Vol.26 No.2

This paper introduces the Scottish immigrant writer, Leila Aboulela, originally from Sudan and, using the perspective of postcolonial feminism, explores her Muslim novel, The Translator (1999) for its familiar yet strange aesthetics. Through her first critically-acclaimed novel, Aboulela, often called an Islamic feminist writer, sensitively portrays the romance between Sammar, a young Sudanese widow who is also an Arabic translator, and Rae, a Scottish Islamic scholar at a British university. The novel, set between Aberdeen, Scotland and Khartoum, Sudan, juxtaposes the contrasting landscapes and cultures of the two cities where Sammar tries to embrace and build her new home, both spiritually and physically. This paper compares and contrasts Charlotte Bronte’s iconic Jane Eyre characters, Jane and Rochester, to Sammar and Rae, a Muslim Jane Eyre and a converted Orientalist, but within a context of profound religious devotion. Not only does The Translator rewrite or ‘write back’ to the classic Orientalist fantasy, in which white men save brown women from brown men, as the prototypical definition on the relationship between colonizer and colonized; but the novel also explores the unsympathetic Western gaze on Muslim identity, migration, and Islamic spirituality.

서사적 패러디와 역사적 팰림세스트: 모리스의 『랑가티라』에서 새롭게 그려지는 19세기 마오리 추장들의 영국방문기

차희정 ( Heejung Cha ) 한국현대영미소설학회 2016 현대영미소설 Vol.23 No.3

This paper discusses the compelling narrative of New Zealand writer Paula Morris`s novel Rangatira (2011) in terms of narrative parody and historical palimpsest which makes the sensational presence of the Maoris in the 19th-century England critically meaningful and historical. The novel is based on the real event of Maori chiefs` journey to England in 1863. This historical event is revealed in Wesleyan William Jenkins`s Dairy describing the period of the Maori Chiefs visit to Queen Victoria, and James Smetham`s painting, “The New Zealand chiefs in Wesley`s House in 1863,” and Gottfried Lindauer`s Maori portraits as well. Up on meticulous research and provocative questions, Morris fictionalizes the circumstances of the painting`s creation. In fact, the whole adventure is renarrated by old chief Paratene Te Manu, who was a fierce warrior, converted to Christianity, and lived through great changes. While sitting for the Bohemian painter Lindauer painting his portrait, Paratene unfolds his memories from the meetings with Queen Victoria, British royalty and aristocracy to disintegration into estrangement, poverty, and mistrust. By walking the tightrope between fact and fiction, in postmodern metafiction parody Rangatira, Morris uses photos and paintings as “an interpretation of the world” to recreate untold stories which are “an important story that should be told” and textualize the significance of cultural symbols.

영국령 트란스요르단 정신병원에 갇힌 무슬림 여성들: 아랍 여성 작가 파디아 파키르의 『소금기둥』

차희정 ( Heejung Cha ) 한국현대영미소설학회 2020 현대영미소설 Vol.27 No.2

This paper introduces a British-Jordanian writer Fadia Faqir unknown to Korean academia and explores her second novel, Pillars of Salt from a transnational and transcultural feminist perspective. Set in Transjordan during and after the British Mandate, it unfolds the disturbing stories of two Muslim women who end up sharing a room in a mental hospital managed by an English doctor - Maha, a Bedouin peasant from the Jordan Valley and Um Saad, a city housewife from Amman. The novel is characterized by three different narrators, an intricate structure of traditional Arabic storytelling, English style, Islamic sensibility, and Western feminist themes. The title of the novel, Pillars of Salt, refers to Lot's wife. In the Biblical account of the destruction of Sodom and Gomorrah, Lot’s wife turned back to watch Sodom burn and was transformed into a pillar of salt for disobeying God's word. The paper defines the Muslim women as pillars of salt synonymous with rebellious, disobedient female subjects in terms of female madness and resistance. In doing so, it deals with religious, political, cultural, and gender conflicts in Islamic society in which women are religiously considered as being inferior to men and culturally confined in a well-closed room complexly constructed with patriarchal traditions, Islamic norms, and colonial orders.

새로운 인간의 탄생: 소설 『프랑켄슈타인』에서 영화 〈엑스 마키나〉로

차희정(Cha, Heejung) 새한영어영문학회 2022 새한영어영문학 Vol.64 No.4

“You Are An Ugly Human Being” in Commercialized Paradise in Jamaica Kincaid"s A Small Place

Heejung Cha(차희정) 한국영미어문학회 2008 영미어문학 Vol.- No.88

This essay explores Jamaica Kincaid"s A Small Place(1988) in terms of tourism and globalization in relation to the culturally and politically paralysed postcolonial conditions of the Caribbean. As one of several major economic sources, Caribbean tourism is thought to enhance the economy and improve upon the devastated living conditions of the black majority in the rapidly globalizing world. However, throughout this eighty-one page long text, Kincaid harshly criticizes the white tourist"s liberal guilt and indifference as well as negative impacts of tourism on the socio-political system of the Caribbean. In addition, Kincaid - vividly illustrates ubiquitous -racism and corruption in her postcolonial home island, Antigua. With a guiding voice and vision, Kincaid manipulates the cross-cultural reader/tourist"s ignorance to recount what is already narrated in History with deeply wounded traces. After all, Kincaid"s text articulates the inevitable need for both the white tourist and the black native to overthrow the historically inscribed positions as oppressor (master) or victim (slave) to become human beings - no more or less than just human beings.

낯선 땅, 낯선 사람들, 낯선 문화: 호주 영화 속 애버리지니 찾기

차희정(Cha, Heejung) 문학과환경학회 2021 문학과 환경 Vol.20 No.4

이 논문은 애버리지니라 불리는 호주 원주민의 삶과 문화를 다양하게 재현하는 랄프드 히어 감독의 3부작 영화 〈추격자〉, 〈열 척의 카누〉, 〈찰리의 나라〉를 탈식민주의적, 생태비평적 관점에서 소개한다. 영화 〈추격자〉는 알려지지 않은 애버리지니 학살의 역사를 다루고 있으며, 〈열 척의 카누〉는 서양인과의 접촉 이전의 애버지리니의 삶과 사상을 엿볼 수 있다. 그리고 〈찰리의 나라〉는 백인 정부의 관리대상으로 전락한 애버리지니의 현대적 삶을 날카롭게 그리고 있다. 생소하고 낯선 이들의 생태친화적 전통생활방식과 (탈)식민주의적 현재의 삶을 보여주는 드 히어 감독의 3부작은 영국-중심의 단일문화사회에서 다문화 사회로 전환하는 호주에서 원주민들의 지워진 역사를 되살리고 다양한 사람들뿐만 아니라 자연과 인간의 공존에 대한 화두를 던지고 있다. 특히, 이 논문은 호주 생태계의 독특함과 다양성 그리고 모든 생명의 상호연결성을 드러내는 애버리지니 삶과 문화에 주목하여, 낯선 타자들과 친숙해지는 과정의 일환으로서 호주 애버리지니 영화들을 제시하고자 한다. From a postcolonial and ecocritical perspective, this paper introduces Rolf de Heer’s film trilogy of The Tracker, Ten Canoes, and Charlie’s Country which revolve around the lives and culture of Australian natives called aborigines. The Tracker deals with the unknown history of an aboriginal massacre, and Ten Canoes shows aboriginal life and thought before contact with Westerners. Charlie’s Country critically presents the modern life of an aboriginal man whose traditional life is challenged by the institutions and management of the white government. The films revive the eradicated history of indigenous people in Australia from a monocultural, British-oriented society toward a multicultural society by raising questions about coexistence, not only among peoples but also between humans and wildlife. This paper recommends Australian aboriginal films as nuanced narratives describing familiarity with others, in which aboriginal life and culture reflect the uniqueness and diversity of Australian ecosystems and the interconnectedness of all lives.

거친 호주오지에서 미혼여성으로 살아가기

차희정(Cha, Heejung) 문학과환경학회 2015 문학과 환경 Vol.14 No.3

This paper introduces Australian woman writer Miles Franklin (Stella Maria Sarah Miles Franklin) and explores her novel My Brilliant Career (1901) as an Australian classic. As an Australian nationalist and feminist, Franklin is best known for her endowment of the Miles Franklin Award, a major annual prize for Australian literature, and her commitment to the development of Australian literature as well. Her first novel, My Brilliant Career, was published to much acclaim and scandalous excitement. Not only does it present various portrayals of rural life but a teenage girl"s view of a life of poverty and herself as a woman in the bush. Unfortunately, the novel has remained unpublished until after the author"s death. In part, however, the international screen success of My Brilliant Career in 1979 has resulted in restoring Franklin to the forefront of Australian feminism and literature. My Brilliant Career, which intentionally blurs the line between biographical fact and fictive elements, is about a young girl named, Sybylla Melvyn, growing up in rural Australia in the 1890s. As a critic describes Franklin as being passionate, creative, prickly, critical, egotistical, self-doubting, and ‘as paradoxical as a platypus,’ Franklin"s girl-narrator is a fascinating and complex character with the restless ambition as well. In the end, not only does she turn down a marriage proposal from a wealth suitor; but also she declares she won"t marry at all. Instead, Sybylla wants to be a writer but is frustrated by her lack of possibilities in the bush. By following her moving from one place to another, this paper defines the novel in terms of Bildungsroman and Sybylla as an unmarried proto-ecofeminist who is ambivalent about Australian people and landscapes which she describes as being attractive and, at the same time, grim.

Georgia Douglas Johnson’s One-Act Plays as Realistic Tragicomedies

Cha Heejung(차희정) 새한영어영문학회 2010 새한영어영문학 Vol.52 No.3

This paper studies the one-act plays of Georgia Douglas Johnson who was one of the well-known black writers and activists during the New Negro Renaissance. Her work has been overlooked until relatively recently, and especially, few of her plays were published and produced during her lifetime. Currently, literary critics have examined her work as experimental and social protest against institutionalized racism and sexism and accordingly regarded Johnson as one of the important figures in the historical and political development of African American literature in the twentieth century. In this study, Johnson’s one-act plays such as “Blue Blood”(1926), “Blue-Eyed Black Boy”(c. 1930) and “Plumes”(1927) are explored in terms of “realistic tragicomedies” which represent the precarious and twisted lives of black women in the 1920s and 1930s. Set in the rural South, the plays make visible Johnson’s dramaturgical skill as well as her critical awareness of the feminization of poverty, maternal emotions, miscegenation, the atrocity of lynching, and sexual violence.

Homing plots and Trickster Characters in Native American Stories and Novels (pp.43-57)

Heejung Cha(차희정) 새한영어영문학회 2007 새한영어영문학회 학술발표회 논문집 Vol.2007 No.5