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유명숙 ( Myung Sook Ryu ) 영미문학연구회 2014 안과 밖 Vol.0 No.36
Giorgio Agamben is exceptional among post-and post-post structuralist critics in his sustained interest in “Auschwitz.” His placement of Nazism in the context of modern democracy has been evaluated as thought-provoking if not entirely convincing. This paper examines his readings of “Auschwitz,” based on Primo Levi`s account of his experience in Auschwitz: his incorporation of Muselmann, the icon of the ineffable, into the structure of witnessing and his conflation of the “zone of indistinction” and Levi`s “grey zone.
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"문학"과 낭만주의 : Rereading Culturalist Critique of Literature 문화론자들의 "문학" 비판 다시 읽기
유명숙 서울大學校 人文學硏究所 2002 人文論叢 Vol.46 No.-
Terry Eagleton's demystification of the concept of literature has become a rallying point for thr proponents of cultural studies. On the streangth of this demystification, they have criticized the English department which have uncritically accepted the idealist concept of literature. The proponents of cultural studies have also demonstrated quite convincingly that the idealist concept of literature is thoroughly ideological. What has been taken for granted in this eager demolition of the concept of literature of its Romantic origin. This paper argues that the concept of literature as defined by the proponents of cultural studies cannot be attributes to the Romantic period. The traces of Romantic poets are there, but their idealistic tendencies were amplified by the lenses of German Romanticism which became influential in Britain only after the 1830s. It further argues that the so-called Romantic concept of literature was a Victorian rather than a Romantic cultural construct; J. S. Mill, an eminent Victorian utilitarian, was more influential in propagating the concept of literature than the Romatic poets and the Romantic Artist: the former are particular individuals whereas the latter is a cultural construc which came hand in hand with the concept of autonomous and transcendental literature. In criticizing the concept of literature, the proponents of cultural studies have confined Romanticism to literature. This is not a wise move for cultural studies. Romanticism is a wide-ranging cultural phenomena which legitimates the search for pleasure, and, therefore, is closely ralated to the rise of consumer society. It will be much more rewarding for culture studies to take interest in Romanticism in this larger context rather than to relegate it to the raslm of "literature" as defined by themselves.
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유명숙 서울大學校 人文學硏究所 2003 人文論叢 Vol.49 No.-
This paper purports to be a critique of text readings based on the "politics of identity," confining itself to recent rereadings of Tess of D'Urbervilles. These rereadings of Tess have focused on the "male gaze" of the narrator on the assumption that he is catering to the middle-class consumption of working-class woman as spectacle. Accordingly, Tess becomes a text constructed by the Victorian discourse that "naturalizes" working-class woman as a part of the landscape. This spectator-spectacle structure is not without grounds in the novel, but it simplifies the complex characterization of Tess as well as the narrator. The narrator of Tess is indeed a middle class spectator; considering the evolution of various spectators during the eighteenth century, however, it is too simplistic to label him "male gaze." He is a descendant of the spectators self-conscious of the futility of their good intentions to alleviate the suffering in view. The easy equation of Tess = text is another simplification; Tess is a spectacle, but at the same time, she has the potentials to be an autonomous individual, more so than any other character in the novel. In addition to these simplifications, recent readings of Tess have overlooked Hardy's allusions to Pamela. Pamela has emerged as the text to validate the reading practices of the "politics of identity" by conflating writing, sexuality, and class struggle. Recent rereadings of Tess have applied this frame of reference, only to erase textual subversions made possible by the self-conscious narrator who historicizes the predicament of Tess as well as the spectatorship of middle-class readers.
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