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포스트모던 소설에 나타난 여성 주체성의 문제 : 나보코브의 「아다」 와 애트우드의 「신탁의 여인」 을 중심으로 Nabokov`s Ada and Atwood`s Lady Oracle
이귀우 한국현대영미소설학회 1995 현대영미소설 Vol.2 No.-
Most humanists, especially, many feminists reject the concept of the "death of the subject" in postmodern and poststructural philosophy. The feminists are afraid lest that the concept should disintegrate the recently formed female identity. I think, however, that this fear comes from their misunderstanding of the postmodern idea of "anti-subject." The concept does not deny the existence of the concrete individual. It is the coherent and fixed pre-Freudian self that is criticized in postmodern philosophy. In this paper, I attempt to argue that Ada and Lady Oracle critically show us that the female identity constructed by literary conventions such as love story and gothic romance tends to suppress the diverse and creative female subjectivity. Van, the unreliable narrator of Ada, records his life-long love relationship with the title character, who is officially his cousin but in fact his sister. Van chooses a third-person voice in telling his fist-person story in order to pose as an objective and realistic chronicler. Beneath the guise of objective detachment, Van has the intensely subjective voice of a modernist artist. In writing his chronicle, he transforms the existence of Ada into a fixed text. Ada has lost vitality and love for change and motion after her encounter with Van. Though Van does not allow Ada's voice in his text, her repressed but still subversive voice is preserved in the margins. Just as the genre of the love story constrains female subjectivity, that of gothic romance produces fixed male and female stereotypes. Joan, the narrator of Lady Oracle, internalizes the value of naive and simple world of the gothics. She tries to please her lovers by revealing only one dimension of her multiple selves to each man, and publishes popular gothics under a pseudonym. But by descending into her deepest psyche, she understands that not only herself but her mother and lovers were victims of the gothic ideology. Now she resolves not to deny the diverse aspects of her self, but to accept them. Her recognition is suggested by the writing process of her last work, which transgresses the formula of traditional gothic romance. Ada and Lady Oracle demonstrate that the concept of "anti-subject" could be liberating to female subjectivity because it rejects the fixed female identity constructed by traditional discourses.
이귀우 서울여자대학교 1979 서울여자대학논문집 Vol.- No.8
Denis Donoghue는 1971년에 출판한 Yeats의 전기에서 그의 예술세계가 가진 근본적인 특성은 power이며, 갈등은 이러한 power의 한 양상이기 때문에 그에게 중요한 의미를 갖는다고 지적하였다. Yeats는 Anima Hominis에서 시란 자기 자신과의 투쟁에서 만들어지는 것이라고 말했다 : "We make out of the quarrel with ourselves, poetry." 그에게 있어서 자기 자신과의 투쟁은 self와 soul간의 갈등이었으며, 이는 또한 신비주의자와 시인으로서의 갈등으로 볼 수 있다. Yeats 자신의 말대로 신비주의는 그의 생애와 작품에 지대한 영향을 끼쳤다 : The mystical life is the centre of all that I do and that I think and all that I write. 그가 Unity of Being을 성취할 수 있는 하나의 해결책으로서 신비주의에 심취했던 것은 사실이다. 그러나 Louis MacNeice가 지적했듯이 Yeats는 magic과 신비주의에 대해 많은 언급을 했지만 분명히 진정한 신비주의자는 아니었다. 그는 신비주의자이기 이전에 시인으로서, 절대자와 합일하여 윤회의 바퀴를 탈출하는 것을 인간적인 책임회피이며 비겁한 행위라고 보았다. "Vacillation"에서 Yeats는 Catholic mystic인 Von Hugel과 같이 기적에 대한 믿음을 갖고 있음을 자인하지만 애써 그와 결별하고("So get you gone, Von Hugel"), "Homer is my example and his unchristened heart"(나는 Homer와 그의 세례 받지 않은 마음을 본받겠노라)고 선언한다. 그는 초탈하여 정화의 불 속에서 말을 잊어버리는 것보다는 시인으로서 Homer처럼 "인간의 원죄"를 테마로 삼고자 하는 것이다.
음식 소비와 (여)성 : 한강의 '채식주의자'의 바틀비적 저항
이귀우 서울여자대학교 여성연구소 2011 여성연구논총 Vol.26 No.-
This study attempts to understand the meaning of passive resistance in Vegetarian (2007) by reading the main female character Yeong-hye as a Bartlebian character. Bartleby, eponymous character in Herman Melville's “Bartleby, the Scrivener,” is “a man of preference,” and challenges the lawyer-narrator's capitalist assumptions by his passive resistance. The lawyer's responses to Bartleby are very complicated, but can be categorized into the following three modes:repulsion and tolerance; curiosity and fascination:evasion and avoidance. I maintain that the narrators of Han Kang's three linked novellas collected in Vegetarian similarly show these three modes of responses to the resistant Bartlebian character of Yeong-hye. Her husband in “Vegetarian” feels repulsion against her sudden refusal to eat meat, yet tries to tolerate her behavior until he can endure no longer; Yeong-hye’s video artist brother-in-law in “Mongolian Spot” is fascinated with her “strange” acts, and uses her body in a new project in order to represent his artistic vision. Yeong-hye’s sister in “Tree Sparks” avoids her because Yeong-hye forces her to face woman's oppressed position in a patriarchal society. Related to the common theme of passive resistance, the refusal to consume food is a major motif in both works of Melville and Han Kang. Yeong-hye not only rejects meat and food but also wants to become a plant. Her refusal to consume food and assertion of her control over her own body reflect her intention not to participate in the capitalist and patriarchal society. Key words:passive resistance, capitalism, patriarchy, food consumption, Herman Melville, Han Kang