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양승주 ( Seung Joo Yang ) 한국현대영어영문학회 2014 현대영어영문학 Vol.58 No.4
During the storm scene, Lear in madness asks the question, “What is the cause of thunder?” Seen through an ecocritical lens, the question is about what relation there is between the moral of man and its containing universe. Examining the play`s answers to the question, this paper discusses how an anthropocentric view toward nature causes destructive results within the play. New environmental ethics which emphasizes human respect and ethical obligation for nature is suggested as a way to offset Lear`s anthropocentric attitude. As a metatheatrical element, the playwright`s aesthetic effort to overcome the binary thought between the realistic world and the fictive world is also discussed through the role-play within a role device. The example of Edgar shows that the realistic and the fictive coexist together at the same moment, crossing the border between them, which allows readers and audience to relate imagined nature shown in the play with real nature outside the play.
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Samuel Beckett between “Europe” and “Ireland”
Hyungseob Lee 한국예이츠학회 2012 한국예이츠 저널 Vol.38 No.-
본 논문은 유럽/아일랜드, 근대/전통이라는 이분법적 인식론이 베케트 연구에서 작동하는 방식의 지형도를 그려보고, 베케트와 아일랜드 문예부흥운동과의 관계, 아일랜드 정체성, 아일랜드의 근대성의 재고를 통해 이러한 이항대립적 사고를 지양할 수 있는 가능성을 제시한다. This paper focuses on the problems of binary thinking found in Beckett studies: the binary of Europe and Ireland and its concomitant binary of the modern and traditional. After briefly outlining the genealogy of the Irish-or-European Beckett criticism, I suggest three fields of research (Beckett’s relationship with the Irish Literary Revival, the problem of Irishness and the Irish context of modernism/ modernity) in which the binary opposition of Europe and Ireland and of modernity and tradition can be problematized more fruitfully.
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페넬로피 : 여성 섹슈얼리티의 탈식민주의적 재현 Post-Colonial Representation of Woman's Sexuality
김문숙 한국제임스조이스학회 2003 제임스조이스저널 Vol.9 No.2
"Penelope" comes after the novel's main story of seventeen chapters, in which Molly Bloom has been denied her language that could express her sexuality. As only an object of a male gaze, she has looked the way the men have wanted her to look. Yet in this last chapter she asserts her own desires as an active agent, turns other Irishmen into objects of her gaze, and even argues with her creator in her own language of flow and overflow. Her unpunctuated and unrepressed soliloquy of sexuality functions as a threatening subversive discourse associated with pre-oedipal attachment to the impulsions of an imaginary maternal figure. So her discourse can transgress the fixed boundaries of racial/sexual stereotypes imposed by patriarchy and imperialism. Molly's subversive strength stems from he ambiguous identity. Molly mingles sexual and racial differences within herself. So she can never be said to be 'pure' both sexually and racially in view of Irish nationalism's standard. Yet Joyce gives her the last word of Ulysses, from which we can infer some of Joyce's thought of what a postcolonial subject should be like. Joyce vests Molly, the most abject subaltern subject in the text, with the freedom to express herself. She shows not only the fullest horror of the effects of colonial power but also a sense that out of his abjection might come a consciousness that would lead these colonized people to independent thought and action. For Joyce, "the spiritual liberation" of Ireland and the creation of "the conscience of his race" involved getting out of the 'fictional' binary thought of patriarchy and imperialism, taking the responsibility for the present colonial condition, and from that position beginning a new start towards a new community.
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박허식(Huh Shik Park) 한국언론학회 2007 한국언론학보 Vol.51 No.5
‘신화’라는 원시 시대의 구어적(口語的)공간 속에 용해되어 있는 동양의 고대 신화적 커뮤니케이션 사상은 무엇인가? 고대 동양의 신화적 커뮤니케이션 사상의 형성과정이 지니고 있는 특징은, 일반적인 신화적 특성과 생태학적 요인에 의해 형성된 동양 특유의 ‘외비우스의 띠’와 같은 구조적 결합을 통해 새로운 차원의 커뮤니케이션 상(想)을 만들어 내고 있는 점이라 하겠다. 신화적 사유들의 물리적 결합이 아니라 ‘뫼비우스 띠’ 형식의 화학적 결합을 통해 형성된 고대 동양의 신화적 커뮤니케이션상은 3상(想)으로 이루어져 있다. 제1상은 커뮤니케이션을 ‘니-너’ 간의 의사소통이 아니라 타자(他者)를 나와 일치시킨 ‘나와 또 다른 나’ 간의 의사소통으로 봄으로써 인간뿐만 아니라 모든 사물과 말을 하고 있는 상이며, 제2상은 커뮤니케이션의 주목적을 정보교환에 두고 있는 것이 아니라 서로 간 ‘의견차이’를 인정하기 위한 이해에 둠으로써 스스로 그러하다는 ‘자연(自然)’을 의사소통의 궁극적 목적으로 하고 있는 상이고, 제3상은 고대 원시인들의 경우 ‘관계’를 통해 사물을 읽었고, 읽은 개별적 내용의 해석을 통해 의미를 찾고자 한 것이 아니라 ‘감정’을 통해 배열한 경험의 총체성에서 신비적 의미를 찾고자 한 상이다. What is the thought of mythic communication in the ancient orient that is melted in a verbal space of the primitive age in the name of 'myth'? The First Image is the one that is talking with not only human but also all objects, by thinking 'the communication' as the communication between 'I and another I' which is according other person with 'I,' not the communication between 'I and You' The Second Image is that 'Nature' is ultimately the purpose of communication, which means "it is being so of itself." In this case, the purpose of communication is not an exchange of information but the understanding to acknowledge each other's difference of opinion. The Third Image is to try to look for a mystical meaning from the totality of experience arranged through the emotion, not looking for the meaning through the interpretation of each content, because primitive men understood the meaning of the object by means of 'relativity' when they saw the object.
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토니 모리슨의 『술라』: 『술라』와 술라의 도전적 실험성
신현욱 ( Hyun Wook Shin ) 근대 영미소설 학회 2005 근대 영미소설 Vol.12 No.2
Sula`s experimental and explorative features are conspicuous from the introductory story of an imaginary Black community named `the Bottom,` which is now on the verge of destruction by the `white` civilization. `The Bottom upon a hill` is at once a realistic representation of the Black life and a parodic criticism of the white American`s founding narrative, `City upon a hill.` As is allegorical and also historically valid the description that `the Bottom` stands on a hill, Sula is at once historical and fabulous, realistic and allegorical, and tragic and comic. This coexistence of contradictions dismantles the readers` binary thinking and make them prepared for Sula`s life, which is too unconventional to accept and also too alluring to refuse. This essay first examines how Morrison opens a new territory for the Black and female experience by skillfully appropriating the American classical literary tradition (particularly exemplified in N. Hawthorne and his `romance` theory). Then it focuses on how Sula`s life reveals its experimental features in the relationships with Nel and with Ajax and what implications Sula`s isolated life embodies for the Bottom`s destiny.
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