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『월든』 다시 읽기 : 문학생태학의 새로운 모형 A New Model of Literary Ecology
강규한 한국영어영문학회 2003 영어 영문학 Vol.49 No.3
Henry David Thoreau has been regarded as a patron saint of ecology, his Walden being a key point of reference in literary ecology. The currents of the study in the field, however, have focused mainly on nature untouched by man. As a result, Walden is appreciated by many leading ecocritics as a text in which wild nature is vividly portrayed with the unmediated language of reality. Undoubtedly Walden is largely wrought with descriptive and non-anthropocentric language. But language is basically tainted by human perspectives, and therefore, it is not possible to describe nature and wilderness without metaphorizing. In reality, it is not nature itself and as such but a kind of humanized nature that is depicted in Walden. The question of hunting presented in the text also confirms the interrelation between man and nature. Deconstructive studies on Walden point out the inevitable discrepancy between nature itself and how it is described by man and his language. Accepting the discrepancy without reservations, however, may lead to losing sight of the dynamic flow toward nature as well as the constant tension between human motivation and nature found in the text of Walden. It is important to note that the Thoreau's work makes strenuous attempts to reach real nature, even while conceding that this quest can be made only by man, through his language. This reading of Walden may open up not only a new understanding of Thoreau's work but also a new horizon of ecocriticism one that extends far into the whole canvas of literary ecology without reducing it to a narrow line of nature-oriented literature. It can be concluded that Walden remains an essential touchstone for building a new model of literary ecology.
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Leslie Fiedler와 The Adventures of Huckleberry Finn
강규한 空軍士官學校 1988 論文集 Vol.25 No.-
This article aims to search for the figure of the 'genuine popular' novel through the examination of Leslie Fiedler's literary theories and The Adventures of Huckleberry Finn. First of all this article, therefore, tries to outline the theories of Leslie Fiedler and lay emphasis on his limit as well as the powerful originality of his so-called 'anticanonical' criticism. The next attempt of the article is to demonstrate the outstanding mixture of the popularity aspect and the aesthetic one in The Adventures of Huckleberry Finn. The literary theory of M.Bakhtin helps to account for the 'genuine aesthetic' quality of the work. In conclusion, a 'new horizon' of the popular novel is detected through the model of The Adventures of Huckleberry Finn whose popularity is 'yoked together' with its artistic quality.
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강규한 한국영미문학교육학회 2018 영미문학교육 Vol.22 No.1
This research aims to understand Louis Sachar’s Holes from an environmental perspective. The possibility of environmental approach to the work can be seen even with its first sentence: “There is no lake at Camp Green Lake.” The following development of its plot demonstrates how the Camp has lost its ‘lake’ and ‘green’ unlike its name. The protagonist, Stanley, achieves his growth along with his painful experiences in this vast inhospitable desert. His growth through the hard work of digging holes there is inextricably related to the excavation of the buried history of Sam, who was shot and buried in the lake as a racial Other after kissing Katherine. Significantly, it was immediately after his death that “not one drop of rain” fell on the lake, which turned the beautiful lake and community into a barren wasteland. It is suggested that God’s punishment was brought about by the ‘unnatural’ tyranny of man-made racism. Provided that Stanley’s growth can be regarded in relation to his contribution to the restoration of Zero as “nobody” into a true companion as well as the discovery of Sam’s past, it can be meaningfully noted that Stanley’s growth leads not only to the restoration of the racial Other but also to the environmental restoration of the wasteland into Green Lake in its true sense. In this way, close relationships between a human community and the environment as an ecosystem are allegorically and aptly illustrated in Holes.
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아동 과학소설에 형상화된 어린이:기억 전달자의 유토피아/디스토피아를 중심으로
강규한 한국영미문학교육학회 2015 영미문학교육 Vol.19 No.1
Although science fiction may have appealed to many young readers for quite a long time, it was not until the late nineteenth century that children’s science fiction appeared and distinctions between children’s science fiction and adults’ one began to be drawn with any kind of precision. Since then children’s science fiction has been widely received by a large number of young readers and deeply examined by some critics. Perry Nodleman, among others, brought up a significant problem concerning the basic structure of children’s science fiction. According to Nodleman, there can be a generic conflict between children’s literature and science fiction, considering that in children’s stories, typical protagonists take their adventures that excite them but that nevertheless teach them the inadequacy of the adventurous life, and happily return home again, while science fiction has appealed to readers with such qualities as curiosity, imagination, denial of tradition and hope for the future. Nodleman suggests that the future protagonists in children’s science fiction stories try to move into after escaping from the inadequate high-technology community is much like the present time of their readers. The Giver, one of the representative contemporary science fiction texts for children and young adults, can serve as a touchstone to examine Nodleman’s argument and to further clarify the genre of children’s science fiction. The protagonist of The Giver, Jonus, escapes from his community that seems utopian but is more like a dystopia in reality and then is depicted as moving forward to “Elsewhere” in the last scene of the story. Unlike Nodleman’s analysis, Jonus’s advancement into the future that will be constructed by his bravery and creativity must be different from the mere return to the troubles and pain of the past, which can mean present time to the readers. It is also worth noting that the role of developing the vision for the community is assigned to Jonus, a young man, not to an adult. It can be concluded, therefore, that The Giver raises the possibility of children’s literature and science fiction being meaningfully merged into children’s science fiction, rather than clashing with each other.
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