시적 기만행위로서의 글쓰기 : Henry James의 습작기를 중심으로

함연진 한국현대영어영문학회 1995 현대영어영문학 Vol.37 No.1

The Cosmopolitan Interpretation of Hawthorne’s Mode of Romance in Henry James’s Novels — Centered on The Blithedale Romance and The Bostonians

함연진 한국비교문학회 2012 比較文學 Vol.0 No.56

Hawthorne was of crucial importance as the only previous writer of stature James knew of who had shown how American psychological experience could be treated in imaginative literature. Hawthorne was as important to James as he had been earlier to Melville, even though the novels of James and Melville have extremely different orientations. In his critical biography Hawthorne, James makes an implicit comparison between himself and Hawthorne, whose notation of the actual world around him was vague because he was not absorbed by it, as James was. James's relationship to Hawthorne was thus complex and many-sided and involved both close kinship and essential conflict, affinity and dissent, agreement and disavowal. The psychological chords struck by Hawthorne are sounded again by James. The individual's selfhood has unusual importance in Hawthorne, as it does again in James. As American writers, Hawthorne and James have many similarities; their fiction, continually interested in moral problems, has an extraordinary delicacy. Especially in assimilating The Bilthedale Romance into The Bostonians, to underscore themes he shared with Hawthorne, James also made Hawthorne's material reflect his own more worldly attitudes—his sense of the limitations of the New England mind, his concern with manners, and the possibilities of aesthetic enrichment represented for him much more by Italy than by Boston. The difference between Hawthorne's novel and James's, however, is the difference between Hawthorne's "shadows and confusions" and James's lucid social relationships, which have been made possible by exposure to a larger culture than Hawthorne had at his disposal. In conclusion, the altered form of literary traditionality reflects James’s inauguration of not just a different way of writing but a different way of thinking about the kind of work. The historical drama of James’s career, as I read it, lies in his reconstruction, eventually of the practice of the novelist’s work. Especially I suggest that in the course of James’s reorganization of influence his pride and prejudice strongly and repeatedly intervene in his consciousness and cosmopolitan mind formation. The reaction of James's cosmopolitan intelligence upon Hawthorne's powerfully archetypal mind eventually helps to demonstrate how the American psychological tradition came into being in the nineteenth-century.

서술기법을 통한 미국소설 읽기사례 연구

함연진 호서대학교 인문학연구소 2014 인간과사회 Vol.33 No.-

The purpose of this study is to perform a research on reading cases of American novels from the view point of the unique narrative techniques used by some major American novelists. The novels include a variety of American noels in th 19th & 20th century such as The Power of Sympathy(1789), The Narrative of Arthur Gordon Pym of Nantucket (1838), Benito Cereno(l855),Adventures of Huckleberry Finn,(IS85), The Portrait of a Lady(1881), The Great Gatsby (1925), The Sound and the Fury(1931), The Grapes of Wrath(1939), Slaughterhouse-Five(1969), and Ceremony (1977), which are examined in the recently published book titled as American Novels and Narrative Techniques(2014). Most of the novels dealt with in this book use a variety kinds of narrative techniques to convey their own thematic voices. Those narrative techniques comprise the stream of consciousness, flashback, metafiction, ambiguity, symbolism, romance, and irony.

수정주의 소설시학 : 「블라이드데일 로멘스」와 「보스턴 사람들」

함연진 한국호손학회 1997 미국소설 Vol.4 No.1

As Harold Bloom points out, the history of fruitful literary influence is to be said a history of anxiety and self-saving caricature, of distortion, of perverse, wilful revisionism without which modern fiction as such could not exist. To some extent, it is true that James has built Hawthorne into the generative processes of his art. To conceive, in James's case, is to conceive with Hawthorne's aid: to imagine a narrative world is to have recourse to Hawthorne's imaginings; to know his subjects is to grasp them in Hawthorne's light. Once the Hawthorne-James relation is established, it is customary to turn to their books and watch how they interact. The Blithedale Romance and The Bostonians were selected for this kind of research in this paper. My own strong sense is that the difference in the way James's novel bears influence is not explicable in terms of influence alone. The altered form of literary traditionality is one of a whole set of related transformations in turn reflect James's inauguration of not just a different way of writing but a different way of thinking about the kind of work that writing it. Not surprisingly, Blithedale becomes the central Hawthorne text for James. The Bostonians, a novel in which every effort to enlist another in a cause masks a move to enlist that other in the service of one's desires, concisely reenacts what James takes to be the lesson of Blithedale: the unconcious way in which the search for the common good may cover a hundred interested impulses and personal motives. What James specifically lifts out of Blithedale is Hawthorne's way of representing the operation of abstract ideas in dramatic action. Methodological superiority is one more advantage James can claim in his ongoing struggle with Hawthorne, and during his realist phase it is the tactical weapon he relies on most heavily. By affirming the value of realism's $quot;closer notation,$quot; he can construe Hawthorne's fiction as, in effect, unachieved-suggestive idea, but imperfect in its relation. Every blurred element in Blithedale becomes an element James can show off his superior initiation by correcting, so his goal in The Bostonians is to refashion and rewrite Blithedale in such a way as to leave nothing vague.

Henry James and the Rhetoric of Journalism in The Bostonians

함연진 한국헨리제임스학회 2000 헨리 제임스 연구 Vol.- No.5

Sexual perversions in Henry James

함연진 한국영미문화학회 2005 영미문화 Vol.5 No.1

해체적 글읽기 그리고 글쓰기 : -'보스턴 사람들'을 중심으로- A Study on The Bostonians

함연진 한국 헨리제임스 학회 1996 헨리 제임스 연구 Vol.- No.1

To some extent, it is true that James has built Hawthorne into the generative processes of his art. To conceive, in James's case, is to conceive with Hawthorne's aid: to imagine a narrative world is to have recourse to Hawthorne's imaginings; to know his subjects is to grasp them in Hawthorne's light. Once the Hawthorne-James relaton is established, it is customary to turn to their books and watch how they interact The Blithedale Romance and The Bostonians were selected for this kind of reserch in this paper. My own strong sense is that the difference in the way James's novel bears influence is not explicable in terms of influence alone. The altered form of literary traditionality is one of a whole set of related transformations in turn reflect James's in auguration of not just a different way of writing but a different way of thinking about the kind of work that writing it. Not surprisingly, Blithedale becomes the central Hawthorne text for James. The Bostonians, a novel in which every effort to enlist another in a cause masks a move to enlist that other in the service of one's desires concisely reenacts what James takes to be the lesson of Blithedale: the unconcious way in which the search for the common good may cover a hundred interested impulses and personal motives. What James specifically lifts out of Blithedale is Hawthorne's way of representing the operation of abstract ideas in dramatic action. Methodological superiority is one more advantage James can claim in his ongoing struggle with Hawthorne, and during his realist phase it is the tactical weapon he relies on most heavily. By affirming the value of realism's "closer notation," he can construe Hawthorne's fiction as, in effect, unachieved-suggestive idea, but imperfect in its relization. Every blurred element in Blithedale becomes an element James can show off his superior initiation by correcting, so his goal in The Bostonians is to refashion and rewirte Blithedale in such a way as to leave nothing vague.

[로더릭 허드슨] : 뚜르게네프와 호손 뛰어넘기

함연진 한국 헨리제임스 학회 1998 헨리 제임스 연구 Vol.- No.3

It is certainly true that James admired Turgenev and learned much from him about the art of fiction. As Roderick Hudson reveals, James uses Turgenev's detached, "dramatic" method in his novel and shares his interest in sensibility. But Roderick Hudson also has a different texture than one finds in Turgenev, partly because Turgenev was more genuinely worldly than James. In contrast with Turgenev's extraordinary naturalness, one finds in Roderick Hudson an upperclass Anglo-American stiffness and consciousness of vulgarity. Turgenev's characters seem to live from their souls, while many of James's characters in Roderick Hudson live merely from the surface of their minds. However, The Marble Faun is essential to James's conception of Roderick Hudson-in its subject matter of American artists in Rome; its theme of American innocence implicated in old-world corruption; its highly suggestive patterning of a Fall. But James has improved upon Hawthorne by providing plausible and realistic specification that makes his conception socially lucid. Hawthorne's fable of the Fall is still discernible in Roderick Hudson, but it has receded into the background as poetic and moral suggestion, while the foreground is occupied by James's precise notation of manners. In his apprenticeship stories James sometimes referred to Hawthorne for insights into the nature of American experience, in certain cases, he shaped his realistic characters from Hawthorne's romance models, But in Roderick Hudson James takes leave of his old master and arrives as a novelist in full possession of his own world. Just as James makes Hawthorne's New England virgin credible, so he does also the expatriate colony in Rome. In Hawthorne, the American artist colony is so shadowy and unsubstantiated that it seems to include hardly more than four people. In James, however, there is a larger elaboration, and a precise notation of the social and psychological types who make up the American circle. Hawthorne's "heir" in the American novel, he will now have come into his inheritance, and will describe his predecessor's genius as beautiful and "provincial."

『워싱턴 광장』: 제임스, 발작, 호손의 경계

함연진 한국 헨리제임스 학회 1997 헨리 제임스 연구 Vol.- No.2

The donnee of Washington Square was furnished by Frances Anne Kemble and James's treatment of Kemble's story was certainly indebted to Balzac. Actually there are many similarities between Washington Square and Eugenie Grande. But while James admired Balzac's skill, he placed himself in another tradition-with novelists such as Eliot and Hawthorne, who care for moral questions and are haunted by a moral ideal. And although he complained of the lack of 'paraphernalia' which his New World setting in Washington Square imposed, he nevertheless found American sources from which to draw in Hawthorne and the convention of the gothic tale. The dominant character type of "Rappaccini's Daughter, the doctor and scientific investigater, overwhelmingly proud of intellect, who crually destroys the soul of his daughter, is developed most richly in turn upon Washington Square. Each of these tales has a triangle of forces, with the heroine caught between her father and lover, who conciously use her for their purposes. Catherine and Beatrice are not identical twins, but they are similar. They are both violated by the figures who surround them. Dr. Sloper and Dr. Rappaccini are also similar. Both are men of science, but in their thwarted natures egotism and pride of mind have replaced their capacity for love. Washington Square, however, is not an exact, modern equivalent of "Rappaccini's Daughter; for one thing, its climate is more contemplative than tragic. James's imagination brought Hawthorne's situations into greater clarity on a level of psychological realism.

Sexuality, Eroticism, and Henry James

함연진 미국소설학회 2004 미국소설 Vol.11 No.2

As a prominent citizen, Henry James no doubt pondered the question of how to derive sexual pleasure and yet maintain respectability in a world where desire often led to despair. In his life and art, Henry James appears to have quietly sought the sexual spaces that other people overlooked. Key for James was individual satisfaction. Then, what kinds of perversions can be found in Henry James? To answer this question, this paper attempts to disclose the realm of James's sexuality and eroticism embedded in his work as well as in his life. Sexuality is a way of seeing. The sexual difference known to marginal males alters their world view. The sexually marginal male not only sees differently, but also sees more. Because of his double existence, one public and one private, he sees from both common and private perspectives. Sexually marginal people find meaningful what the majority finds meaningless. The marginal male in Henry James's fiction looks outward and sees what he would like to be, and then turns inward and interprets the lack the difference he finds there.In his fiction, James created a peculiar world of sexual surprise which was much later defined by Foucault as "peripheral sexualities." When terms like "invert" and "homosexual," "voyeur" and "fetish" enters academic discourse, James is to be mentioned repeatedly with regard to his works as well as his life. The possibility of alternative and compensatory pleasures became a trademark in James's life, and he would aim for the maximum of eroticism just short of physicality. In short, James's sexuality was of a different and in some ways surprising nature, and his road would necessarily be that of substitutions and compensations.