피츠제럴드의 <야곱의 사다리>읽기: 문학치료 상황으로 살펴 본 촉진자와 참여자의 관계

손정희 ( Sohn Jeong Hee ),조성훈 ( Cho Seong Hun ) 한국문학치료학회 2015 문학치료연구 Vol.36 No.-

이 글은 피츠제럴드의 <야곱의 사다리>(1927)의 등장인물인 야곱과 제니의 관계를 문학치료적인 상황을 드러내는 것으로 살펴보려고 한다. 초기의 문학치료는 읽기 중심의 독서치료가 주를 이루었으며 이는 참여자와 문학의 일대일 관계 속에서 진행되었다. 하지만 상호작용적인 독서치료에 이르러서는 촉진자와 참여자 그리고 텍스트의 삼자 구도를 통한 치료 방법을 사용하면서 촉진자의 역할이 중요해졌다. 이러한 구도 속에서 촉진자는 참여자와의 상호작용을 통하여 적절한 반응을 이끌어낼 수 있어야 한다. 작품에서 야곱이 제니가 가진 문제들을 해결하고 배우가 되도록 도와주는 과정은 상호작용적 독서치료에서 촉진자가 참여자의 문제해결을 위하여 돕는 것 과 유사하게 진행된다. 참여자로서 제니는 가정결손, 낮은 지능,목적 없는 삶 등 십대 청소년들이 가질 수 있는 문제점들을 가지고 있으며, 촉진자로서 야곱은 그녀의 환경 및 교육수준 등을 적절하게 파악하여 해결 방법을 제시해줄 필요가 있다. 현명한 촉진자로서 야곱은 제니의 지적 수준을 파악하고 텍스트로서 책 대신에 다양한 상황들을 제시해 준다. 현대의 독서치료 역시 책에 한정하는 것이 아니라 비디오,연극, 그림 등 다양한 재료들을 텍스트로서 활용하여 서로 다른 수준의 참여자들에게 적용하고 있다. 야곱과 제니의 만남과 대화는 그 자체로서 문학치료의 모습을 하고 있으며, `도입단계-작업 단계-통합 단계_새 방향 설정 단계1로 구성된 테트라 시스템과 유사하게 진행된다. 이러한 과정들을 통하여 제니는 자신의 미숙한 언어 수준을 향상시키고,대인관계 기술을 습득하고、강인한 자아를 가짐으로써 완벽하게 사회 속에 편입된다. 특히 제니의 편입과정이 단순하게 사회 시스템의 요구에 대한 순응이 아니라 전통적인 여성의 이미지와는 다른 새로운 개성을 지닌 여성으로서 온전하게 받아들여졌다는 점에 있어서 그녀의 성장과 발전은 가치를 지닌다 This paper examines the relationship between Jacob and Jenny in F. Scott Fitzgerald`s〈Jacob`s Ladder>(1927) in view of the context of literary therapy With its change of emphasis on from reading to interactive process, interactive bibliotherapy emphasizes the role of a facilitator and purposes to remedy problems through the triad of participant-literature-facilitator. In the triad, facilitators must make their efforts to produce positive effects by interacting with participants. In 〈Jacob`s Ladder,> the relationship between Jacob and Jenny resembles that between a facilitator and a participant. Jacob, a scouter, leads Jenny to be an actress and helps to solve a myriad of her problems as if a facilitator deals with a participant`s mental problems. Jenny, from a broken family, is a teenager girl with adolescent problems such as low education level and an aimless life. Taking her backgrounds into account, Jacob wisely gives her different situations not a book, as a text. As a matter of fact, in the current bibliotherapy, a text is not limited to a book but includes a variety of materials-videos, plays, pictures and so on. The process of Jenny becoming an actress shows Tetra System of bibliotherapy, which consists of Initial phase, Action phase. Integration phase, and Reorientation phase. Going through such a remedy, Jenny enriches her vocabulary and develops social sldlls. Thus, she can finally assimilate herself to the mainstream society. It is crucial that her assimilation means that existing society accepts a new woman who has an individuality different from that of a traditional woman.

유혹과 훈육의 사이에서: 『기숙학교』에 나타난 초기 미국의 여성 교육

손정희 ( Jeong Hee Sohn ) 한국영미문학페미니즘학회 2012 영미문학페미니즘 Vol.20 No.2

This paper first examines how a boarding school functions as a site for disciplining a female subject into a virtuous citizen of the early American Republic in Hannah Webster Foster`s The Boarding School (1798). Composed of two parts, the first part of the book gives a detailed description of what should be taught to female students for them to play a virtuous role in society. In accordance with the cultural norms prescribed by the Republican Womanhood, the female students at a fictionalized boarding school superintended by Mrs, Williams, learn various subjects, such as reading, writing, arithmetic, music and dancing, only to serve better for the society by supporting and raising virtuous citizens as a wife and mother. Students also learn proper moral behaviors about various topics, such as dress code, polite behavior, filial and fraternal affection, friendship, love, and religion. Part Two shows the interchange of letters between Mrs. Williams and students, and among students themselves. On the one hand, this letter exchange process well illustrates how the students communicate with each other to consolidate and spread the dominant discourse indoctrinated at school even after they leave the school. Yet, on the other, this epistolatory interaction shows the formation of a strong bond among students, suggesting that there is a slight possibility of subversion in which this female friendship functions as a separate space for female autonomy and independence against dominant norms.

계급의 여성화?: 『마그렛 하우스』와 『명목상의 동업자』에 나타나는 소외와 개혁

손정희 ( Jeong Hee Sohn ) 근대 영미소설 학회 2010 근대 영미소설 Vol.17 No.1

유혹 소설에서 가정 소설로: 세즈윅의 『뉴잉글랜드 이야기』의 여성 재현을 중심으로

손정희 ( Jeong Hee Sohn ) 한국영미문학페미니즘학회 2011 영미문학페미니즘 Vol.19 No.2

This paper explores Sedgwick`s A New England Tale as a work which shows transitional features from the seduction novel to the domestic novel in the plot and the representation of woman. Sedgwick uses the motif of seduction many of early American women novelists employed, but incorporates it into the novel`s sub-plots. These sub-plots delineate morally deficient women characters who defame themselves by falling prey to seduction. These sub-plots contribute to emphasizing the triumph of a domestic heroine, Jane Elton. On the one hand, as a paragon of a woman`s role prescribed by the Republican Ideology, Jane succeeds in marrying a virtuous man, fulfilling the duties of a Republican ideal of family as the backbone of the state. On the other hand, Jane prefigures a heroine with the virtues defined by the True Womanhood of the mid-nineteenth century, who stands out in domestic novels such as Susan Warner`s The Wide, Wide World and Maria Cummins`s The Lamplighter. Foregrounding Jane as the protagonist, A New-England Tale records a transitional moment from the seduction novel to the domestic novel by dramatizing an ideal Republican woman with virtues, who also prefigures a heroine defined by domestic ideology.

펠프스의 『명목상의 동업자』: 계급을 넘어선 여성 유대의 가능성

손정희 ( Jeong Hee Sohn ) 한국영미문학페미니즘학회 2008 영미문학페미니즘 Vol.16 No.1

This paper examines the possibility of female bonding between two women of different classes in Elizabeth Stuart Phelps`s The Silent Partner. Perley Kelso is a ``leisure class`` woman ensconced in the private sphere, who changes into an active reformer in the public sphere. Her change is fueled by two incidents: the inheritance of a mill partnership upon bet father`s sudden death and an encounter with Sip Garth, a mill girl. Faced with the conditions banning women from taking part in factory management, Kelso decides to adopt an active role in managing the mill. She is also motivated to reform the excruciating factory conditions of the laborers. Meanwhile, Garth, who has been saturated with the idea that she cannot overcome her conditions as a mill girl, decides to embark upon the useful life of a street preacher who spreads soothing words to the laboring classes. The novel espouses a complete reversal of the traditional ending usually reserved for women. Kelso rejects two marriage proposals to continue her work, and Garth too refuses to enter into marriage to avoid bequeathing her status of mill laborer to her children. The relationship of Kelso and Garth reflects the discourse of female bonding that is an important aspect of women`s life in nineteenth century America. However, as members of different classes, their bonding develops into a respect for each other`s work based on a wary acknowledgment of their differences.

플래퍼와 1920년대 미국 문화의 여성 이미지: 피츠제럴드를 중심으로

손정희 ( Jeong Hee Sohn ) 韓國아메리카學會 2009 美國學論集 Vol.41 No.2

The flapper was seen as a popular female type of the 1920s of America. This paper examines this prevalent image of a modern young woman who had a short but intense life in American culture, by reading some works of Scott F. Fitzgerald. Best known as an epitome and a chronicler of the 1920s, Fitzgerald arguably invented and popularized the flapper image in America. This paper focuses on three short stories collected in Flappers and Philosophers (1920), "Head and Shoulders", "Bernice Bobs Her Hair," "The Offshore Pirate," and The Great Gatsby (1925), his most celebrated work. As is well shown in naming the age as the "Roaring Twenties" and people as the "Lost Generation," the postwar America underwent disorientation, turbulence, and disorder, totally having lost traditional value system. Reflecting such social changes, the flapper, as a type of the New Woman, liberated herself from the constricting identity defined by domestic ideology, and rebelliously defied traditional conventions of female virtues. Fitzgerald created vibrant female characters who are spoiled, sexually liberal, self-centered, and fun-loving, not confined to the home, but enjoy individual freedom. As such, they seemed to overcome the previous conceptions of women as `invalids` who had been represented to become ill, degenerate, and ultimately die. Fitzgerald has long been misconstrued as a spokesman for celebrating this new type of women, but his attitude was nuanced and ambivalent. He increasingly used her as a symbol not only of freedom but also of social conflict and unrest. Although Fitzgerald himself created a flapper with complexities, a more standardized flapper image instantly allured and influenced young women of the era on a wide scale, and it was popularized and spread by a stream of popular magazines, advertisements, and movies. As its popularity increased, the flapper quickly turned into a stereotypical type of woman who temporarily enjoys freedom and rebellion but finally decides to settle down to a safe home. In short, the flapper was an outright expression of individual freedom and liberated energy in one respect, and yet in the other, she served as a safe receptacle for containing social anxiety and disorder. In the aftermath of its paradoxical cultural significance, the spirit of subversion is safely contained in repetitive literary representations of modern women who are yet invalids and/or die, sexually oppressed by social restrictions which are still to be overcome long after the 1920s.

대서양횡단 연구와 미국문학의 범부 다시 보기

손정희(Jeong Hee Sohn) 한국아메리카학회 2014 美國學論集 Vol.46 No.3

In recent literary studies, transatlanticism has provided an important framework through which literary texts can be explored and re-explored. Transatlantic studies draws attention to the ways in which ideas of crossing and connection have helped to rethink the ways in which national identity is constructed. As Arjun Appadurai and Benedict Anderson have noted, modern nations are constructed as "imagined communities" through acts of collective imagination. The borders of a nation are now conceived to be permeable to the reciprocal flow of cultures. Transatlanticism serves as a way of unsettling our preconceived idea about the 'exceptional' American literature, not only as a geographic location of material and economic exchange, but also as a metaphor for the transmission of aesthetic and ideological forms. This paper attempts to suggest a possibility of reconceiving American Literature, drawing on the transatlantic perspective with a specific focus on the early American novel. The idea of the transatlantic is inseparable from early America in which exchange, migration and interaction were given conditions. Naturally, early American literature always concerned itself with relations and dialogues, despite the exceptionalist claims of earlier exponents of American Studies. So it is now necessary to review the critical argument that the rise of the American novel is closely intertwined with the emergence of the new nation. In the early Republic of America, homogeneity and singularity increasingly give way to transnational spaces of relation and hybridity. Seen in transatlantic perspective, then, it can be argued that the category of early American novel should be redefined to embrace novels with transatlantic dimension. The transatlnatic view thus, provides a way of opening up the canon of American literature to a much wider range of writing.

스토리텔링과 공감을 통한 언어 교육 및 정체성 형성 -월라 캐더의 『나의 안토니아』읽기

손정희 ( Jeong Hee Sohn ),김여진 ( Yeo Jin Kim ) 21세기영어영문학회 2013 영어영문학21 Vol.26 No.4

This paper attempts to show that storytelling is important in language learning and identity formation for those who (im)migrated to the West in Willa Cather`s My Antonia. Jim Burden and Antonia Shimerda share the same need to settle down in a totally new place, although they differ in nationality, language and culture. Experiencing the language barrier as a primary obstacle to overcome, Antonia makes an effort to learn English. On the other hand, when Jim is isolated when other immigrants communicate with their own language, Antonia translates their stories into English. Through many other examples, the novel shows that language serves as a necessary tool for communication and adaptation. Futhermore, storytelling plays a significant part in one`s identity formation. Many characters with (im)migrant backgrounds gain an opportunity to establish their identities by telling stories about their present life and past memories. Throughout the novel, it is poignantly suggested that storytelling serves as an effective way for language learning and identity formation.

『나의 안토니아』에 나타난 다양성의 공간인 서부: “미국인들”과 그들의 “아메리칸 드림”

손정희 ( Jeong Hee Sohn ),김여진 ( Yeo Jin Kim ) 한국근대영미소설학회 2013 근대 영미소설 Vol.20 No.1

This paper examines how the characters cope with the pioneering experience of im/migration to the West in Willa Cather`s My Antonia. Jim Burden, the narrator of the novel, has migrated from Virginia to Nebraska while Antonia Shimerda has immigrated from Bohemia to America. In Cather`s view, whether they are American or European in origin, Jim and Antonia are placed into a similar situation in which they have to face the state of being uprooted in the West as an im/migrant. Antonia stays and settles down in Nebraska all through the story, while Jim moves around several places all over America. Even though he achieves the status of a successful lawyer, Jim feels disoriented and uprooted, always missing Nebraska as his home. On the other hand, Antonia is projected as an ideal pioneer. Having struggled against all difficulties of prairie life, Antonia finally succeeds in leading an enriched life as a farmer, wife and mother. She is depicted as a symbol of a positive possibility that the West of America was projected as the site of the American Dream fulfilled. In addition to Antonia, Cather portrays other female characters, such as Francis Harling, Lena Lingard and Tiny Soderball, as self-sufficient, independent immigrant women who succeed in running a business of their own in the West. Unlike male writers, Cather reveals the neglected aspects of women`s history in the West by dramatizing the success story of these pioneering female characters who achieve the American Dream in the Western frontier.

길먼과 글쓰기: 새로운 가정성 제안을 통한 여성주체의 치유 모색

손정희 ( Jeong Hee Sohn ) 영미문학연구회 2015 영미문학연구 Vol.29 No.-

Arguably, Charlotte Perkins Gilman’s whole life was a process of struggling against her deep-seated anxiety about losing her mind, vividly fictionalized in her famous short story, “The Yellow Wallpaper.” Through her writing, however, Gilman tried to cope with her trouble caused by oppressive domesticity imposed upon women. Furthermore, Gilman saw her trouble not only as her own, but also as that of women of her day. In this respect, writing provided Gilman with the opportunity to depict alternative ways of defining domesticity. This paper examines how Gilman’s writing becomes a tool for healing woman’s plight by reading some of her short stories and poems. In these works, Gilman portrays how women are in the state of lethargy and tiredness in the idealized space of the home which was in effect the locus of women’s oppression. Gilman presents alternative ways of looking at the long-held conventional ideas about domestic womanhood, of revising the distinctions between male and female roles, and of advancing radically new plans of domesticity. Ultimately, writing these works functions as a therapeutic process for Gilman in which she freely creates a fictional space where formidable cultural prescriptions of domesticity are adjusted and remodel led, and readers are in turn invited to share the process of healing the invalid status of womanhood.