트웨인의 『얼간이 윌슨』에 대한 국내외 최근 연구: 유희석 교수에 대한 반론을 중심으로

김명환 ( Myung-hwan Kim ) 영미문학연구회 2017 영미문학연구 Vol.32 No.-

This paper purports to examine recent critical debates on Mark Twain`s Pudd`nhead Wilson. First of all, I try to answer Hui-sok Yoo`s critical attacks against my essay on Pudd`nhead Wilson. I agree with Yoo`s idea that, for a fuller understanding of the novella, it is indispensable to analyze the functions of Wilson`s maxims from his calendar that Twain put as epigrams for each chapter. Yoo`s argument is, however, far from proving his own idea. He fails to correctly interpret the court scene in which Wilson spots Judge Driscoll`s true murderer by means of fingerprinting, and his discussion of the functions of Wilson`s calendar is little better than nebulous. Yoo`s interpretation of the relations between two Wilsons―Wilson the fictional character and Wilson the calendar writer―tries to elucidate the outstanding achievements of Pudd`nhead Wilson in criticizing racism, sexism, and classism. His argument, however, falls short of overcoming the alleged shortcomings of critical works on the novella both in South Korea and abroad, a failure that makes Yoo`s discussion of “the double project of modernity” vague and even redundant.

인종주의, 근대, 근대 극복: 마크 트웨인의 『얼간이 윌슨』을 어떻게 읽어야 하는가

유희석 ( Hui-sok Yoo ) 영미문학연구 2016 영미문학연구 Vol.31 No.-

Mark Twain, himself partially tainted with racist ideology, and also born with the gift of an artistic bricoleur, created an intensely thought-provoking novella, Pudd`nhead Wilson, which leads us to think out of the way of the working logistics of capitalistic modernity: racism, classism and sexism. In response to such a characteristic of the novella itself, this article addresses the critical issues of Mark Twain`s text, keeping in mind three closely interrelated key words: racism, modern age, and the overcoming of modernity. Pudd`nhead Wilson, brilliantly making use of the three distinctive yet mutually informing narrative clusters-Wilson plot, Roxy-Tom plot, and Twin plot-in addition to deploying felicitously satiric aphorisms of Pudd`nhead Wilson`s Calendar, remains one of the essential classics of the nineteenth-century American novel. By learning to read the context of more-than-meets-the-eye, and by deriving `the devil` out of the novella`s complex details, we can reach the hermeneutic horizon where we can envision the path to overcoming the age of modern capitalism.

The Black Mississippi and White Fluidity in Mark Twain`s Pudd`nhead Wilson

( Sodam Choi ) 한국근대영미소설학회 2017 근대 영미소설 Vol.24 No.2

Through the lens of racially marginalized black characters and a Northerner, another socio-cultural outcast, Twain reveals the absurdity of the notion of race as a biological marker, stressing that race is a social construct. Racial identity is open-ended, and thus the idea of whiteness is also in fluidity. In this paper, focusing on Roxana, a strongly powerful and cunning female protagonist, I argue that marginalized Southern blacks obtain mobility, although temporarily, while floating up and down the Mississippi River. Also, I explore how they are able to cross racial boundaries through child-swapping, passing, and cross-dressing; and how their newly obtained mobility is ironically frustrated by Pudd`nhead Wilson, a Northern new comer to Dawson`s Landing. Furthermore, I demonstrate the ways the postbellum Southern town sustains its status quo, with the aid of the technologically modernized and scientifically advanced North. My critical reading suggests that the relationship between two marginalized characters, Roxy and Wilson, is sharply contrasted in the hierarchical sense: Wilson`s final social status as a celebrity in the Southern town, climbing up the ladder from the northern Pudd`nhead, is only possible with the tragic downfall of the rebellious black woman.

『얼간이 윌슨』의 인종주의 비판과 근대극복의 과제

김명환 ( Myung Hwan Kim ) 영미문학연구회 2014 영미문학연구 Vol.27 No.-

For a fuller understanding of Mark Twain’s Pudd’nhead Wilson, I attempt to analyze the white elites’ reified views about private property as well as the often irrational ethos of ordinary white citizens in Dawson’s Landing. I also examine the pervading irony we find in the characterization of Roxy, Tom, and David Wilson. The key issue to evaluating this controversial work of fiction is how to explain the anti-climatic latter part of the story after the murder of Judge Driscoll. It is also closely entwined with another issue of how to understand the ambiguities and weaknesses we find in the character of Wilson who eventually turns his back on the sordid realities of slavery. Wilson’s half-baked portrayal comes from Twain’s flawed endeavors to confront the heydays of slavery that works as a metonymic device for condemning the emerging Jim Crow regime. To discuss the achievements of Pudd’nhead Wilson, the American slavery should be understood in light of Enrique Dussel’s idea of “the planetary modernity” in opposition to “the Eurocentric modernity.” At the same time, Twain’s unconscious, inconsistent project of overcoming modernity is to be examined by means of placing the novella in the context of the political failures of the Reconstruction, although it is uncompromisingly critical of racism.

검은 노예주, 하얀 노예: 마크 트웨인의 『바보 윌슨』에 나타난 혈통의 딜레마

노동욱 한국영어영문학회 2020 영어 영문학 Vol.66 No.2

This study explores complex aspects of passing in Mark Twain’s novel Pudd’nhead Wilson while focusing on the motif of changeling. First, this study examines the ‘one-drop rule.’ Pudd’nhead Wilson establishes the criticism against the contemporary ‘one-drop rule’ which virtually defined mixed bloods as black. The motif of changeling becomes a device to question the standards of boundaries between black and white and a slave owner and a slave; it changes the places between a white slave owner’s son and a black slave’s son. Meanwhile, just as important as the motif of changeling are their lives after the changing of places. “Tom” who becomes a white slave owner later realizes that the black slave lineage is inherent in him. The confusion of racial identity and inner anguish and conflict he experienced are important topics of passing. Next, this study investigates the dilemma of pedigree caused by the overlap between Roxy’s status discourse and the racial discourse of those days. Roxy’s claim that his son “Tom” is of noble descent opposes the racial discourse of those days which disdained the lineage of African-American. The overlap of the Southern status discourse with the racial discourse generates the oxymoron “high born nigger.” The fundamental aim of the baby-switching motif is to parody the situation in which Tom is split into a “high born/nigger” by considering Mulatto’s existence as an inherent white/black separate identity.

규율정치와 생명관리정치를 통한 『얼간이 윌슨』 속 인종 담론 연구

김대중(Kim, Dae-Joong) 강원대학교 인문과학연구소 2018 인문과학연구 Vol.0 No.58

본 논문은 마크 트웨인(Mark Twain)의 후기 작품인 『얼간이 윌슨』(Pudd’nhead Wilson) 속 잡혼과 패싱의 의미를 미셀 푸코(Michel Foucault)의 이론을 통해 분석해서 당대 미국사회 속 인종문제의 복잡성을 살피는 것을 목적으로 한다. 이를 위해 논문은 우선 미셀 푸코의 이론 속 규율권력(disciplinary power)과 생명관리정치와 생명관리권력을 푸코의 강의록에 대한 연구를 통해 이론적으로 살피려 한다. 이후 작품 속 인종 패싱을 인종담론속 규율권력과 규율정치를 통해 분석하고 작품 속 문제적 흑인 여성인 록시(Roxy)의 저항을 다루려 한다. 마지막으로 작품 속 록시의 저항의 실패와 윌슨이 대표하고 지문으로 상징되는 생명관리정치의 작동 방식을 살피려 한다. This paper aims to analyze Pudd’nhead Wilson to figure out how racism as a power structure operates in the novel. As theoretical scaffoldings, the paper mostly utilizes Michel Foucault’s theories of disciplinary power and bio-power. The paper consists of four parts. The first part of the paper investigates how these two power structures function in racism and slavery system as both discursive and actual systems reading through the collections of Michel Foucault"s lectures at the Collège de France including Abnormal and Society Must Be Defended. According to Foucault, struggle of races has occurred synchronizing its apparatuses with discourse of war in Europe; meanwhile, state racism embedding bio-politics and bio-power emerged recently to exploit racial minorities subordinating scientific discourses of demography, biology, eugenics, etc. The paper peruses Pudd’nhead Wilson to regard Roxy’s changeling and passing as forms of resistance by which slavery system and racism, as disciplinary discourse, are subverted. But ‘one-drop rule,’ a bio-political apparatus in the novel operates to ideologically define Tom’s blackness as evilness. Yet Roxy represents counter-discourses in actions and words though it fails confronting another assemblage of pseudo-scientific discourse of fingerprint that dimly debunk dismal operation of bio-politics.

Revisiting Mark Twain’s Vision: Charles Chesnutt’s The Marrow of Tradition

Choi, Sodam(최소담) 한국외국어대학교 외국문학연구소 2018 외국문학연구 Vol.- No.72

“마크 트웨인의 대안으로서의 찰스 체스넛의 『전통의 정수』 읽기”는 마크 트웨인 (Mark Twain)이 『얼간이 윌슨』 (Pudd’nhead Wilson)에서 민스트럴 쇼(minstrel show)와 흑인 남성의 백인 여성 강간 및 살해의 플롯을 통해 던졌던 “인종이란 무엇인가”라는 질문에 대해 찰스 체스넛 (Charles W. Chesnutt)을 통해 다시 한 번 천착한다.체스넛은 『전통의 정수』 (The Marrow of Tradition)에서 트웨인의 흑인 남성을 백인 남성으로 대체하여 플롯을 차용함으로써 백인우월주의, 백인순수혈통주의가 만연하던19세기 말, 20세기 초, 짐 크로우 (Jim Crow) 시대의 남부사회를 배경으로 백인 사회의 폭력성, 흑백 대칭의 불균형성 및 백인 담론의 야만성을 역설한다. 이 글에서 저자는 기존 체스넛 비평에서 보여온 백인 대 흑인, 혹은 당대 첨예하게 대립하던 순응주의자 대 혁명론자의 단순한 이분법적 논리 구조에서 벗어나 주변적 인물로 침묵하던 흑인 여성의 목소리를 통하여 작가가 그려내는 새로운 시대상을 고찰한다. 체스넛은 『얼간이 윌슨』에서 마크 트웨인이 주장하는, 생물학적 산물이 아닌, 사회적 산물로서의 인종의 개념에서 한걸음 더 나아가, 개인의 삶에 있어 인종이 더이상 장애가 되지 않는, 탈인종 담론의 근간이 되는 미국의 새로운 인종을 제시한다. In “Revisiting Mark Twain’s Vision: Charles Chesnutt’s The Marrow of Tradition,” I discuss Chesnutt’s critical re-appropriation of the already firmly settled notions of black criminality and victimization of white ladies, white racial purity, and white supremacy; and especially his suggestion of the new American race for the perpetual survival of both blacks and whites, and above all America as a nation. I point out the fact that by presenting his futuristic vision on the new American race through the authorial voice of an extremely marginalized black woman, Chesnutt thus calls for a society in which race no more functions as a hindrance to any individual. As both Twain and Chesnutt use doubling as one of the significant metaphors in their character-making, I adopt the notion of twin and read Twain and Chesnutt as authorial doubling. Chesnutt’s writing is not merely a black imitating works written by whites as it is very often seen in many post-colonial writings. I argue that Twain and Chesnutt are able to supplement one another through their own works. Chesnutt’s work can be seen as a response to nineteenth-century white supremacist fictions, and it presents a larger picture of the post-Reconstruction American history intentionally ignored in the popular genre of the plantation tales. “마크 트웨인의 대안으로서의 찰스 체스넛의 『전통의 정수』 읽기”는 마크 트웨인 (Mark Twain)이 『얼간이 윌슨』 (Pudd’nhead Wilson)에서 민스트럴 쇼(minstrel show)와 흑인 남성의 백인 여성 강간 및 살해의 플롯을 통해 던졌던 “인종이란 무엇인가”라는 질문에 대해 찰스 체스넛 (Charles W. Chesnutt)을 통해 다시 한 번 천착한다.체스넛은 『전통의 정수』 (The Marrow of Tradition)에서 트웨인의 흑인 남성을 백인 남성으로 대체하여 플롯을 차용함으로써 백인우월주의, 백인순수혈통주의가 만연하던19세기 말, 20세기 초, 짐 크로우 (Jim Crow) 시대의 남부사회를 배경으로 백인 사회의 폭력성, 흑백 대칭의 불균형성 및 백인 담론의 야만성을 역설한다. 이 글에서 저자는 기존 체스넛 비평에서 보여온 백인 대 흑인, 혹은 당대 첨예하게 대립하던 순응주의자 대 혁명론자의 단순한 이분법적 논리 구조에서 벗어나 주변적 인물로 침묵하던 흑인 여성의 목소리를 통하여 작가가 그려내는 새로운 시대상을 고찰한다. 체스넛은 『얼간이 윌슨』에서 마크 트웨인이 주장하는, 생물학적 산물이 아닌, 사회적 산물로서의 인종의 개념에서 한걸음 더 나아가, 개인의 삶에 있어 인종이 더이상 장애가 되지 않는, 탈인종 담론의 근간이 되는 미국의 새로운 인종을 제시한다. In “Revisiting Mark Twain’s Vision: Charles Chesnutt’s The Marrow of Tradition,” I discuss Chesnutt’s critical re-appropriation of the already firmly settled notions of black criminality and victimization of white ladies, white racial purity, and white supremacy; and especially his suggestion of the new American race for the perpetual survival of both blacks and whites, and above all America as a nation. I point out the fact that by presenting his futuristic vision on the new American race through the authorial voice of an extremely marginalized black woman, Chesnutt thus calls for a society in which race no more functions as a hindrance to any individual. As both Twain and Chesnutt use doubling as one of the significant metaphors in their character-making, I adopt the notion of twin and read Twain and Chesnutt as authorial doubling. Chesnutt’s writing is not merely a black imitating works written by whites as it is very often seen in many post-colonial writings. I argue that Twain and Chesnutt are able to supplement one another through their own works. Chesnutt’s work can be seen as a response to nineteenth-century white supremacist fictions, and it presents a larger picture of the post-Reconstruction American history intentionally ignored in the popular genre of the plantation tales.

『바보 윌슨의 비극』: 법과 관습의 허구와 흑백문제

심계순 미국소설학회 2005 미국소설 Vol.12 No.2

Published in 1894, The Tragedy of Pudd’nhead Wilson occupies a central position in the dark period of Mark Twain’s literary career. In this book, Twain criticizes the race slavery and American racial politics. The main topic is the highly artificial category of race. Both the servant Roxy and his son look white, but they are black according to “a fiction of law and custom,” and it is this fiction the novel sets out to expose. The fact that white and black can be changed simply by a single act of switching children testifies that the racial identity in Dawson’s Landing is nothing but a fiction supported by laws and customs. Twain introduces a stranger as a means of exposing and criticizing the evils and injustices of the slavery. Wilson, “pudd’nhead” stranger, tries to restore justice with scientific knowledge of fingerprints, but shows his limitations by joining the injustices of the slave-holding town. He scores a success in the court by restoring the switched identities of Tom and Chambers, but his success is anything but a real success. In the process of correcting the racial identity, he in effect justifies racial discrimination and re-establishes the distorted social order based on it.

『바보 윌슨의 비극』: 법과 관습의 허구와 흑백문제

심계순 ( Kye Soon Shim ) 미국소설학회(구-한국호손과 미국소설학회) 2005 미국소설 Vol.12 No.2