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파국의 그림자들: 미국 문화사 속의 종말(론)적 상상들
유정완 ( Yu Jung-wan ) 경희대학교 인문학연구원 2018 인문학연구 Vol.0 No.37
이 글은 미국의 건국과 역사에 뿌리깊이 박혀있는 기독교 천년왕국설의 이론적 문화적 변이를 살펴보고, 그것이 미국의 역사와 문화에 어떠한 서사기제로 작동하는지를 점검하는 것을 목표로 한다. 마이클 위글워쓰와 조나단 에드워즈의 ‘미국 예레미아 서사’로 시작하여 애덤스 형제의 문명 쇠퇴론 또는 엔트로피론을 거쳐 오늘날의 프랜시스 후쿠야마, 새뮤얼 헌팅턴, 앨런 블룸, 그리고 포스트모더니즘과 포스트휴머니즘으로 이어지는 이른바 문명, 인간중심주의, 또는 역사 종말론, 종언론은 한편으로 미국 문화의 팽창과 도약을 위한 추동력으로, 다른 한편으로는 특히 문화 영역에서 종말론적, 말세론적 비극을 잉태시키는 전통을 만들어오고 있다. 또 다른 한편 이와 같은 학문적, 종교적 종말의 상상 외에도 우리는 오늘날 자본주의 세계화와 환경의 역습으로 인한 각종 모순과 기후, 식량, 에너지 문제 등 실제로 문명의 종말, 인간의 종말을 누구나 상상할 수 있는 단계에 이르렀다. This paper explores the apocalyptic tradition in American literary and popular culture. Starting with a strong apocalyptic understanding of “escape from history,” America itself was founded on a special imagining of the end of human history and the beginning of a New Canaan under God’s Providence. This apocalyptic tradition has helped America rebuild at every moment of decline or crisis, while engendering no less tragic religious movements based on the idea of the end of the world, such as People’s Temple and Heaven’s Gate. The tragic understanding of American history is, however, not limited to the tradition of religious communities. From Adams brothers, who claimed the decline or entropy of American civilization and democracy, to Francis Fukuyama and Samuel Huntington, who bask in a triumphalist euphoria of American capitalism, on the one hand, and on the other hand are paranoid about its being threatened from heterogeneous elements of multiculturalism. What is dangerous about these varients of contemporary American “de clinism” or “endism” is that it has ceased to be functioning as a regenerating cultural force; it has become a jingoistic whine loud but unheard around the world in the age of a new extremism.
메리 롤랜슨의 "포로서사": 이론의 포로,제국의 포로?
유정완 ( Jung Wan Yu ) 한국근대영미소설학회 2011 근대 영미소설 Vol.18 No.1
This paper explores the significance of Mary Rowlandson`s Captivity Narrative in a wider context of American cultural history, emphasizing the importance of understanding Rowlandson`s text in connection with the Puritan habitus, not through recent theoretical tendencies too often focusing on race, gender, and class issues regardless of the specific text`s signifying dimensions. Recent interpretations of Rowlandson have thus decontextualized and deterritorialized the complex textures of the text while attempting to save the silenced voices or feelings often identified with those of Mrs. Rowlandson. This reductionist tendency has accomplished its textual mission of saving gendered subjectivity resisting the totalizing thrust of the Puritan ideology, only by disregarding other meaning-producing dimensions of Rowlandson`s Captivity Narrative. What this paper suggests is that we need to focus again on the Puritan ideology deeply embedded in Rowlandson`s text and explore the complex negotiations working in the historical contexts in which this text was produced, namely, the printers of the text, Increase Mather the Amicum, Rowlandson the author herself, and the Puritan audiences in New England. These agents who helped producing the meaning of the text have all different interests in the effort of publishing and circulating the text, but they all shared the Puritan ideologies and worries on the Puritan community in crisis particularly resulted from King Philip`s War, the land war between two races/civilizations. This paper concludes that the upshot of this re-reading is that Rowlandson`s Captivity Narrative is a communal religious text aspiring to be an imperial text which will dominate the future American imagination.
아메리카 제국의 상흔: 미 라이 학살 사건의 과거와 현재
유정완(Jung-wan Yu) 한국아메리카학회 2019 美國學論集 Vol.51 No.1
This paper explores the persistent significance of the My Lai massacre. It also analyzes far and immediate causes of the massacre: the unique but atrocious American way of war in Vietnam, the National Liberation Front’s ‘people’s war,’ and the psychological disorientation of the American soldiers. The My Lai massacre led the American leaders to step back from the American ‘quagmire,’ radically shifting the fog of the war. This shift of policy led by Johnson and Nixon administrations ultimately fails, however, and America loses the war, making American exceptionalism seriously dismantled. America’s uniquely resilient collective narrative which Richard Slotkin calls the ‘regeneration through violence’ finally survives, however, and, though seriously wounded, American empire revives its collective illusion as a special nation with a manifest mission. The My Lai massacre supplied America a rare opportunity to reroute its imperial trajectory, but it unfortunately keeps imagining itself as an exceptional nation, as we can see even now around the world after its engagements in Vietnam more than 50 years ago.
사냥꾼과 병사, 그리고 베트남 전쟁: <디어 헌터>와 『우리는 왜 베트남에 있는가?』 비교
유정완 ( Jung Wan Yu ) 한국현대영미소설학회 2012 현대영미소설 Vol.19 No.3
This paper explores the hunter-soldier figure in the history of American culture, particularly focusing on two Vietnam War narratives, The Deer Hunter directed by Michael Cimino in 1978 and Why Are We in Vietnam? written by Norman Mailer in 1967. Though generically and periodically distant from each other, these two narratives on the Vietnam War have quite surprising similarities: the themes, for example, such as male bonding and homo-social relationships, cruelties and obscenities of the Vietnam War, and most of all, the "regeneration through violence" theorized by Richard Slotkin as a narrative and cultural propellent of the collective American society since the successful inception of the frontier myth. Putting these two narratives in the context of American cultural history which includes James Fenimore Cooper`s The Deerslayer and the interventionist history of the Vietnam War, this paper argues that these two narratives have certain conservative or "revisionist" aspects in understanding the American intervention into Asia, although it is true that they have some quite clear attitudes against the war in Vietnam. Heavily relying on the idea of male bonding and the ideal of masculinity, these two narratives recycle the dominant ideological elements of American cultural history and thereby play into hands of ideological reconfinement imposed by the traditional American cultural history.