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고영희 한국영어영문학회 2024 영어 영문학 Vol.70 No.1
The essay argues that Bartleby’s refusal to eat is an inevitable response of a subject who refuses the biopolitical system ingrained in the capitalist society of America. Michel Foucault points out biopower’s indispensability to the development of capitalism (History of Sexuality 140). As a microcosm of the capitalist society, the lawyer’s office is managed in ways which it maximizes its profits. The lawyer, for this goal, attempts to regulate his employees through the biopolitical means of food and foodways. Believing that his employees’ productivity is highly dependent on what they eat, he monitors and controls their dietary lives without actual intervention. Even after sending Bartleby to the prison, the lawyer cannot forsake his desire to control and regulate the scrivener, as exemplified in his employment of the grub-man under the mask of charity. Bartleby’s food refusal, in this context, should be understood as his refusal to the capitalist system that threatens to deprive his subjectivity. Not only does he become a useless occupant in the Wall Street office when he stops working and eating, but he also causes malfunction to the prison after he is sent to it. Perhaps ironically, Maud Ellmann points out, prison becomes a birthplace for modern subjectivity (94). If Bartleby’s self-starvation, self-defeating as it might be, is an attempt to disrupt the system built upon the regulation of bodies, his refusal of life, demonstrates that the biopolitical system cannot succeed all the time.
Americanized Hardy: Winterbottom’s Film Adaptation of The Mayor of Casterbridge
고영희 문학과영상학회 2018 문학과영상 Vol.19 No.2
In The Claim, a film adaptation of Hardy’s The Mayor of Casterbridge, Winterbottom transformed the story into a national tale of America under construction. Instead of being a homage to Hardy and his fictional Wessex, The Claim becomes a homage to immigrants and their frontier spirit that built America. The setting of the movie is consequently changed to the snowy mountains of Sierra Nevada around the time of the California gold rush. Along with the setting, the human relationship with the nature is also changed. Unlike the natural world to which humans have to adapt in The Mayor of Casterbridge, nature in The Claim becomes an object to conquer and tame. Another noticeable change is in the idea of home. In Winterbottom’s film, home is presented not as a geographically defined place but as a movable one. It can be built and moved anywhere, as embodied by the act of immigration. All the characters are naturally immigrants. Their call for nation-building and progress submerges Henchard/Dillon’s conflict with and defeat by Farfrae/Dalglish. Commemorating Dillon as an early pioneer, Dalglish confirms that they are all participating in the due course of progress in American history. Dillon’s failure, in this process, is given religious overtones as a human’s fall from grace and his death as a possibility of redemption.
Becoming Things in Kazuo Ishiguro’s Never Let Me Go
고영희 한국외국어대학교 영미연구소 2019 영미연구 Vol.47 No.-
Ishiguro’s objects in Never Let Me Go empower his objectified human clones, re-establishing their thing-status in a world that humans exploit them as non-humans. The objects, evokers and mediators of empathic feelings, seem to stake a claim to be more than consumables even once their use value is gone. Kathy’s music tape, for example, plays a pivotal role in calling up empathy in her and her friends, helping them develop reciprocal relationships with one another. In contrast, the same music fails to do so in their human counterparts like Madam. Indeed, through Kathy’s narrative, Ishiguro explores the meaning of objects beyond their use value. The question is existential for his clone characters who are objectified, both in body and soul, by the world. While being half-concealed from the students’ perception, their bodies are carefully watched and controlled, later for their organs to be harvested when need be. The aesthetic education at Hailsham further permits them to be smoothly incorporated into the biopolitical system. The educators hail the clones’ better treatment as beings who have souls just as much as any other humans. Yet the clones’ education reduces them to the aesthetic objects they produce. Internalizing the idea of their own existence as an instrument, the students perceive themselves as objects. The empathic power the surrounding objects render them, however, helps them refute such an idea and embrace their individual uniqueness. If they cannot escape from their doomed donation as objects, they become objects for commemoration after their deaths, as does Tommy in Kathy's narration.