http://chineseinput.net/에서 pinyin(병음)방식으로 중국어를 변환할 수 있습니다.
변환된 중국어를 복사하여 사용하시면 됩니다.
개별검색 DB통합검색이 안되는 DB는 DB아이콘을 클릭하여 이용하실 수 있습니다.
통계정보 및 조사
예술 / 패션
<해외전자자료 이용권한 안내>
- 이용 대상 : RISS의 모든 해외전자자료는 교수, 강사, 대학(원)생, 연구원, 대학직원에 한하여(로그인 필수) 이용 가능
- 구독대학 소속 이용자: RISS 해외전자자료 통합검색 및 등록된 대학IP 대역 내에서 24시간 무료 이용
- 미구독대학 소속 이용자: RISS 해외전자자료 통합검색을 통한 오후 4시~익일 오전 9시 무료 이용
※ 단, EBSCO ASC/BSC(오후 5시~익일 오전 9시 무료 이용)
The purpose of this essay is to explore Joyce's utopian desire by analyzing the way to deconstruct the Apocalyptic structure of Bloom's psychodrama in the “Circe” episode. Based on the previous studies on Bloom's sex/gender transformation in this episode, this essay particularly emphasizes the following points. First, Joyce's use of the catastrophic imagination in the Apocalyptic structure is “jocoseriously free”: comic, secular, elusive, and sometimes contradictory rather than clear, prophetic, and inflexible. Second, on the expressionistic Circean stage, Bloom's surrealistic hallucination unveils not only his hidden sexual guilt and private trauma but, more broadly, figures the unconscious sexual dialect that his early motherhood underlies the father's law. Third, Bloom's gender crossings and masochistic humiliation leads him finally to the catastrophic moment of his sexual abjection which makes him enable to participate in the carnivalesque comedy of infidelity not as passive victim, but as the active director. Consequently, Joyce's writing reveals one of his multi-directed paradoxical utopian visions in terms of sexual politics. 본 논문은 『율리시스』의 「퀴르케」 중에서 블룸이 정체성을 상실하는 파국의 장면에 이르는 변신과정을 살펴봄으로써 조이스의 유토피아적 욕망을 탐색하는데 초점을 맞추고 있다. 파국적 감성은 위기의식과 늘 병행하는 상상력으로 「퀴르케」에서는 블룸의 성적 죄의식이 낳은 트라우마가 모두 표출되는 순간에 정체성을 상실하는 위기에 부딪친다. 그러나 그 상실이 영원한 소멸과 종언으로 끝나는 것이 아니라 새로운 창조와 생성을 위한 에너지가 된다. 블룸이 펼치는 다양한 성변환과 매조키즘의 환상은 “새로운 여성형 남성”이 아일랜드의 가부장제 사회에서 “내면화된 어머니”를 찾으려는 혁신적 욕망을 드러내는 탐색이다.
"The Death of the Author" is one of the most controversial issues in the literary world in the later half of the 20th century. The author is traditionally considered as a creator of a work. In that sense, the author is the actual agent of meaning, and he is responsible for the production of the sequence of events as a whole. In general, he represents the governing consciousness of the work as a whole, and he is the source of power, intelligence, and even moral standards. In the 1060s, however, a new concept of the author was suggested that he is the effect of the language on the reader rather than a subject's consciousness or persona. Joyce's fiction has once supported a modernist myth: the myth of the narrator's impersonality, which is however, only an illusion. For example, in his polystylism and parodic narrating manner of Ulysses, the narrator's structural presence cannot be accepted as the rationale for the book's arrangement. John Fowles also continually experimented a new concept of authorshipa as existence and writing in the sequence of his novels. He presents in his works the passivity of the authorial process, its reliance upon combinations of a cultural repertoire of conventions. All of these explanations are depended upon Barthes, Foucault, and Joyce, all of whom argued the conversion of the author from an absolute entity to a textual strategy.
Since the 1960s one of the major characteristics in contemporary fiction is the breakdown of the traditional genre form. As the division between high and low culture have become blurred after World War Ⅱ, popular romance has invaded literary postmodernism. In the contemporary novels, the conventions of realism and romance are made to collide openly and self-consciously. Why and how can romance serve as a viable tool for postmodern cultural analysis? Romance has been liable to derogation as a mode of lowbrow entertainment, of sentimental and fantastic escape. In spite of the privileging of realism over romance in the tradition of the novel, romance has flourished in imbibing a wide range of divergent materials which simply do not seem to fit one generic category very comfortably. It is not resticted to medieval tales of brave and handsome knights or to novels opening on dark and stormy nights. It seeks what Hawthorne termed "the truth of the human heart," often sthrough a conscious simplification and allegorizing of character. Its mystic tableaux try to reimport the marvellous and improbable back into human life: it remakes the world in the image of desire and imagines ideal and idiosyncratic worlds. In The French Lieutenant's Woman John Fowles exploited the ancient erotic sources of romance and its narrative potentialities for the mystical and existential truths. His novel is constucted on the basis of the traditional quest form: a new quest for personal authenticity in which the self of the protagonist is to be tested, tried, and subjected to ordeal. However, unlike the conventional form, the search for an absolute existential wholeness can never be fully achieved by either text or hero. Three possible endings announce the deadlock of realistic closure; the liberation of the protagonist at the end implies an absolute isolation of the existential individual but a possibility of his new start for the future. David Lodge's Small World also uses some principal ingredients of romance story: the secret and extramarital love affair, the atmosphere of enchantment, the dangerous and mysterious quest of the hero, the punishment of the lover, the figure of the elusive or unattainable female, exotic and mysterious settings, and so on. All these conventions of romance give to the text the vitality of liberation from the repressed frame of traditional realism.
John Fowles and the British Experimental Fiction in the 1960s: Joyce's Influence on the New Concept of Authorship Dauk-Suhn Hong “The Death of the Author” is one of the most controversial issues in the literary world in the later half of the 20th century. The author is traditionally considered as a creator of a work. In that sense, the author is the actual agent of meaning, and he is responsible for the production of the sequence of events as a whole. In general, he represents the governing consciousness of the work as a whole, and he is the source of power, intelligence, and even moral standards. In the 1960s, however, a new concept of the author was suggested that he is the effect of the language on the reader rather than a subject's consciousness or persona.Joyce's fiction has once supported a modernist myth: the myth of the narrator's impersonality, which is, however, only an illusion. For example, in his polystylism and parodic narrating manner of Ulysses, the narrator's structural presence cannot be accepted as the rationale for the book's arrangement. John Fowles also continually experimented a new concept of authorship as existence and writing in the sequence of his novels. He presents in his works the passivity of the authorial process, its reliance upon combinations of a cultural repertoire of conventions. All of these explanations are depended upon Barthes, Foucault, and Joyce, all of whom argued the conversion of the author from an absolute entity to a textual strategy.
Dauk-Suhn HongThis essay seeks to trace Hanif Kureishi's attempt at negotiating the ethnic marker for the formation of an immigrant's identity in his first novel, The Buddha of Suburbia. Ethnicity remains of importance to the hero of the novel, but there is always something that tells its hero's ambivalent relationship to his own ethnic background. The strategy to find his ethnic affiliation is the process of externalization of his identity through theatrical performance of "playing not-me." In the conventional Bildungsroman, the protagonist Karim has performed the action of identity shift from one position to the other in order to come to terms with his ethnicity and its implication for his position in society. The symbolic examples of this performance of identity are evident in the transformations undertaken by Haroon and Changez. This novel emphasizes the significance of the protagonist's own positioning and affiliation in spite of the external pressures which seek to determine him.
The Murders in Dublin Phoenix Park in May 6, 1882 is one of several historical events which was treated in Ulysses and Finnegans Wake. The assassination of high officials was motivated by the Irish radical nationalist group, the Invincibles, in order to get the Irish freedom from the British imperial power. Joyce reconstructed this historical event through "retrospective arrangement" in his texts, but with some intentional errors and sometimes in the extreme exaggerations. This study is mainly focused on how this national history was textualized: the processes of intentional errors, of the complex palimpsest, and of the melodramatic romance. Joyce delighted in having his characters of Ulysses display their imperfect historical memories so that the readers fall into confusion and doubt about which are factual and fictional. The writer even intertwined this historical event with the other ones in its representation, to make the text a kind of palimpsest writing. By this narrative method of palimpsest writing, all of the courageous sacrifice of the revolutionary heroes are parodied in the melodramatic situation. Joyce attempted to expose and subvert Irish popular culture's received notion of the national heroic martyrdom. It is the way for him to rebel the immutability of history, and to open the infinite possibility of national history.