유토피아의 지평 넓히기 : 도리스 레씽의 『3, 4, 5 지대의 결혼』 Doris Lessing's The Marriages Between Zones Three, Four, and Five

좌종화 한국현대영미소설학회 2002 현대영미소설 Vol.9 No.2

It is not easy to classify Doris Lessing's works because her writing is alwasy associated with change. But uopan imagination is one of the most important images in Doris Lessing's works. This article explores the new horizon of utopia in Canopus in Argos quintet. Utopian thought has been reconsidered during modern period. In 1960, traditional utopias as a product of modernity, where diverse viewpoints and conflict couldn't e allowed, were regarded as naive and totalitarian. While in the post modern era, associated with a dystopian image, Doris Lessing combines an utopian vision and the postmodern condition successfully to broaden the utopian horizon. The Marriages between Zones Three, Four, and Five overturns the stasis of traditional utopia. There is a marriage between the opposite realms, Zone 3 and 4. Zone 3 stands for a traditional utopia, but is suffering from sterility. Zone 3 represents the deadlock of the traditional utopia. Zone 4 is a belligerent and patriarchal dystopia that is ruled by Ben Ata. Al·Ith of Zone 3 and Ben are ordered to marry by the Providers. The marriage between traditional utopia and militant dystopia brings change and viality to both of them. But there is another marriage ordered, between Ben and Vashi of Zone 5. Exiled from Zones 3 and 4, Al·Ith doesn't belong anywhere and turns toward Zone 2 which is undefined and remains mysterious to the last. But we can infer that there will be continual change and interaction between the zones without any consummation and closure. This novel doesn't show the ultimate utopian society. The broadening of utopian horizon is made possible by transgressing the modem project of traditional utopia. This novel displays an unstable, fluid, and centerless utopia in the process of change. In this sense, as the open-ended conclusion indicates, Doris Lessing accepts that boundaries must be transgressed and disrupts the stasis traditional utopia.

비판적 유토피아의 서사 : Doris Lessing's Shikasta 도리스 레씽의『쉬카스타』

좌종화 새한영어영문학회 2000 새한영어영문학 Vol.42 No.2

Doris Lessing's Shikasta is the first volume of Canopus in Argos: Archives series. Lessing herself calls it space fiction which is similar to the soft SF. Most critics had criticized severely the loose structure and the use of the popular genre, SF, in Shikasta. But we can detect her intention to widen our perception of reality and disclose the repressed Other through a utopian mode of writing that is different from the traditional utopian genre. This paper alms to examine the narrative of the critical utopia represented in Shikasta. Critical utopia, Tom Moylan's term, called the traditional utopia in question and tried to overcome the stasis of the traditional narrative. Shikasta is a critical utopia in Moylan's sense. Using critical utopian narrative, Lessing is able to examine and represent the multi-layered reality. This work doesn't attempt to convert readers to a finished version of utopia. To search for the alternative to realism, she experimented various styles. By adopting the critical utopia and SF, she is free from the time and space limit And she is transcending the binary opposition between straight literature and marginal genre, SF at the same time. In Shikasta, we can't find the linear progress, historical determinism, and authoritative narrator. Canopean envoy, Johor's narrative is juxtaposed with Rachel's. We are not allowed to get definite meaning by the open-ended narrative structure. There is radical narrative ambiguities in this novel. Shikasta requires the reader's active participation for the production of the text meaning. Thus, Shikasta invites readers to share in the process of exploring the utopia.

틈새 존재, 그 간극의 정체성 : 레씽의 『마사 퀘스트』와 킹스턴의 『여인무사』 Lessing's Martha Quest and Kingston's The Woman Warrior

좌종화 새한영어영문학회 2005 새한영어영문학 Vol.47 No.2

This study explores the in-between identity in the novels of Doris Lessing and Maxine Hong Kingston. Despite the writers' diverse ethnic backgrounds, they all have experiences of 'exile.' Being an outsider separated from insiders leads to radical and critical point of views and simultaneously to social interests in societal mechanism of dominance and dependence. I find outsiders' keen observations and critical awareness in their works. Doris Lessing lived in British colony, Southern Rhodesia. Though she was a member of white settlers community, she couldn't assent to the white's Euro-androcentric prejudice. In Martha Quest, the conflict from a complex position as a white woman in colony is embedded in the main character, Martha. Martha's situation as a white, bourgeois, colonial subject makes it impossible for her to occupy just one position in the complex network of differences. From this experience, Martha gains the critical view about binary opposition. Maxine Hong Kingston is an Asian-American writer. As non-white ethnic writer, she experienced different processes of identity formation from white American. she is not either Chinese or American. In The Woman Warrior the narrator tries to transcend both Chinese tradition and American identity by transforming the oral story into writing. Kingston denies the power of patriarchal Chinese traditions and ghosts in the dominant society. By doing this she gives voices to herself differing from the 'model minority', orientalist's construction of Asian American. The in-between identity enabled these writers to have a keen awareness of themselves as alien and transcend the dominant social norm and monolithic tendency.

텍스트와 여성의 몸, 그리고 글쓰기 : 도리스 레씽의 『황금 노트북』

좌종화 새한영어영문학회 2007 새한영어영문학 Vol.49 No.1

The purpose of this study is to examine the relationship between the experimental writing and awareness of female body in Doris Lessing's The Golden Notebook. The realistic writing is considered to be based on the belief that it is always possible to represent reality in writing. Lessing started her writing career as a realist. But she realized that the realistic novel does not accommodate her multi-layered version of reality. Moreover, she realized she had tried to conform to the androcentric understanding of life. By writing this book, Lessing totally recognizes her female body and her experiences, and The Golden Notebook concretizes this awareness. The Golden Notebook, Lessing's most well-known novel, is a starting point for her to be away from realism. Anna, the protagonist of this book, experiences the disintegration and chaos of the modem society. Having experienced merging into other people and madness, Anna accepts the multiplicity and heterogeneity in her self-identity. For her, mental breakdown is not a sign that she is mad, but she goes beyond the existing logocentric society. This awareness comes from experiences as a woman and she realizes she perceives things in a continuum, rather than in fixed boundaries or hierarchical system. The boundaries between self and other become mobilized and flexible by realizing and accepting the power of her female experiences on her identity and view of life. This might be the critique of the systems of representation that govern the western thought.

도리스 레씽의 실험적 글쓰기:『쉬카스타』에서 현실인식의 문제

좌종화 새한영어영문학회 2001 새한영어영문학회 학술발표회 논문집 Vol.2001 No.10

비판적 유토피아의 서사

좌종화(Jowa Jong-Hwa) 새한영어영문학회 2000 새한영어영문학 Vol. No.

Doris Lessing's Shikasta is the first volume of Canopus in Argos: Archives series. Lessing herself calls it space fiction which is similar to the soft SF. Most critics had criticized severely the loose structure and the use of the popular genre, SF, in Shikasta. But we can detect her intention to widen our perception of reality and disclose the repressed Other through a utopian mode of writing that is different from the traditional utopian genre. This paper aims to examine the narrative of the critical utopia represented in Shikasta. Critical utopia, Tom Moylan's term, called the traditional utopia in question and tried to overcome the stasis of the traditional narrative. Shikasta is a critical utopia in Moylan's sense. Using critical utopian narrative, Lessing is able to examine and represent the multi-layered reality. This work doesn't attempt to convert readers to a finished version of utopia. To search for the alternative to realism, she experimented various styles. By adopting the critical utopia and SF, she is free from the time and space limit. And she is transcending the binary opposition between straight literature and marginal genre, SF at the same time. In Shikasta, we can't find the linear progress, historical determinism, and authoritative narrator. Canopean envoy, Johor's narrative is juxtaposed with Rachel's. We are not allowed to get definite meaning by the open-ended narrative structure. There is radical narrative ambiguities in this novel. Shikasta requires the reader's active participation for the production of the text meaning. Thus, Shikasta invites readers to share in the process of exploring the utopia.

논문 : 타자 담론의 여성적 전유: 포스트모던 페미니스트 과학소설

좌종화 ( Jong Hwa Jowa ) 한국영미문학페미니즘학회 2004 영미문학페미니즘 Vol.12 No.1

(재현)부적절한 타자의 재현:다나 해러웨이의사이보그페미니즘인식론과옥타비아버틀러의<완전변이세대>삼부작

김상구,김용규,조일제,좌종화,정혜욱,하상복,김지영,이효석,유제분 한국영어영문학회 2004 영어 영문학 Vol.50 No.3

변신의 물질성과 주체의 (재)구성--안젤라 카터의 <새 이브의 정념>

조일제,한혜정,이효석,하상복,좌종화,정혜욱,김상구,김용규 한국현대영미소설학회 2005 현대영미소설 Vol.12 No.1

D. H. 로렌스의 중도세계와 제3의 눈

김상구,김용규,조일제,좌종화,정혜욱,하상복,김지영,이효석,유제분 한국로렌스학회 2004 D.H. 로렌스 연구 Vol.12 No.3