불안 정동: 돈리의 소설을 중심으로

황은덕 한국영미어문학회 2018 영미어문학 Vol.- No.131

This paper explores the affect of anxiety represented in Don Lee’s Country of Origin and Yellow. As Sigmund Freud presented in 1926, anxiety comes from the ego as a reaction to a situation of danger. In other words, it is the ego which sends a signal of anxiety telling a dangerous situation has been approached. Therefore, the presence of anxiety signifies that the ego is doing its job of a defense mechanism. Futhermore, the anxiety as a sign of desire, as Jacques Lacan points out, is closely related not only with desire but also the real, object a. This means that the object a is to be considered as the cause of desire and the object of anxiety. The protagonists of Don Lee’s novels desire what is believed to be social goods, and they situated themselves outside of ‘an affect community’ as ‘affect aliens’. As a result, Danny and Kenzo among others suffer from obsessional neurosis and anxiety neurosis. But as Lacan puts it, a man’s desire is the desire of the Other, and his desire can not be filled without a fantasy. In Dean’s case, however, he acknowledges the Other’s otherness, which is the object a, and transformed the affect of anxiety into the burgeoning possibility of subjectivity. Thus, reading Don Lee’s novels through the perspective of the affect of anxiety led to a new way of understanding the protagonists and their home town, Rosarita Bay. As an affect community, Rosarita Bay can be a place of drift full of unfastened and metabolized affect.

‘푸른 수염’ 내러티브의 변용과 아내의 위반 -「푸른 수염」, 「피로 물든 방」, 「푸른 수염의 첫 번째 아내」를 중심으로 -

황은덕 부산대학교 여성연구소 2016 여성학연구 Vol.26 No.2

This paper explores the diverse forms and transformative versions of ‘Bluebeard’ stories in terms of the wife’s transgression. The paper focuses on Perrault’s fairy tale, “Bluebeard”, Carter’s short story, “Bloody Chamber”, and Ha Seong-ran’s short story, “The First Wife of Bluebeard.” The Bluebeard stories have long been considered as the texts that enunciate the critical consequences of women’s curiosity and disobedience. However, as this paper has disclosed, Perrault’s “Bluebeard”, whose themes centers around a forbidden chamber, a curious wife, and a wife’s disobedience, distorts the folkloric versions of Bluebeard stories in a number of ways. Though Perrault’s version blames and warns of the wife’s curiosity and disobedience, other Bluebeard versions of his era differ greatly in portraying and depicting the wife’s brave acts and characters. As one of the well-known versions of Bluebeard stories in the 20th century, Carter’s “Bloody Chamber” incorporates the basic plots of Bluebeard story but rewrites and refutes the whole notions of androcentrism and sex discrimination ideology prevalent in Perrault’s fairy tale. Ha Seong-ran’s version of Bluebeard story, “The First Wife of Bluebeard”, seems to consider the fate of the first wife of Bluebeard: What is she curious about and what does she see in that forbidden chamber? As this paper unfolds the tale of the first wife’s experience, Ha’s short story turns out to be an important feminist text featuring the issues of marriage ideology, women’s pursuit of knowledge and truth, transgressive women, and women’s telling of ‘her story’. 본 논문은 17세기 프랑스를 중심으로 유럽에서 전승되던 푸른 수염 민담이 각 시대와 문화권을 넘나들며 변용된 양상과 방식을 아내의 위반과 행위주체성의 주제적 측면에서 논의하였다. 푸른 수염 내러티브를 다룬 텍스트들 중에서 본 논문은 페로(Perrault)의 동화 「푸른 수염」(“Bluebeard”), 카터(Carter)의 단편소설 「피로 물든 방」(“Bloody Chamber”), 하성란의 단편소설 「푸른 수염의 첫 번째 아내」를 중점적으로 분석하였다. 페로, 카터, 하성란의 텍스트에서 발견되는 공통점과 차이점들은 아내가 위반을 감행하는 순간, 즉 금지된 방의 문을 여는 순간을 전후하여 행위주체성을 중심으로 논의가 진행되었다. 페로는 푸른 수염 민담의 최초 기록자이자 이 민담을 동화문학의 장르로 정착시킨 작가이다. 지난 수세기동안 서양 문화의 대표적인 ‘집단적 판타지’로 자리 잡은 푸른 수염 내러티브, 즉 금지된 방, 여성의 호기심, 위반과 불복종의 모티브는 바로 페로의 동화에서 그 기원을 찾을 수 있다. 하지만 페로는 동화를 쓰는 과정에서 프랑스 절대왕정 시대의 가치체계와 규범을 전파하고 강화하려는, ‘교훈적’이고 ‘근대적’인 목적을 위해 당시의 푸른 수염 민담을 심각하게 훼손하고 변형시켰다. 즉 페로의 생존 당시에는 용감하고 주체적인 여성으로 회자되었던 푸른 수염의 아내는 페로의 기록 이후 순종적이면서도 호기심의 유혹에 굴복하여 불복종의 죄를 저지른, 교훈과 질책의 대상이 되는 여성으로 변모했다. 카터의 단편소설은 20세기 영미소설에서 페로의 동화를 변용한 가장 유명한 사례라고 할 수 있다. 카터의 「푸른 수염」다시쓰기는 익숙한 장르인 동화라는 ‘옛 병’에 폭발적인 ‘새 술’, 즉 페미니즘의 시각을 부어넣은 시도라고 볼 수 있다. 카터는 익숙한 장르 문법을 일정 부분 활용하면서 권력과 성차에 근거한 성 이데올로기야말로 자본주의체제 가부장적 성 담론의 핵심 내용이라는 사실을 드러낸다. 하성란의 단편소설은, 맨 처음 푸른 수염의 첫 번째 아내는 과연 어떤 이유로 희생자가 되었을까, 하는 상상력에서 쓰였다고 할 수 있다. ‘도대체 나는 무슨 잘못을 했을까’ 라는 여주인공의 반복되는 자문이 보여주듯이, 하성란의 소설은 잘못된 선택으로 인해 한 여성에게 닥친 우연한 재앙을 인간의 공통적인 삶의 조건으로 형상화하는 데 초점을 맞추고 있다. 하지만 본 논문에서 살펴본 바와 같이 하성란의 소설은 결혼 이데올로기에 순응하는 여성, 위반을 통한 여성의 지식과 진실 추구, 여성의 행위주체성, ‘허스토리’를 전하는 여성주체 등, 페미니즘의 공통 주제를 논의하는 데 있어서 중요한 텍스트로 활용되었다.

입양인 디아스포라와 친생모의 서사

황은덕(Hwang Eundeog) 새한영어영문학회 2012 새한영어영문학 Vol.54 No.3

The diasporic nature of transnational adoption, a form of forced and involuntary child diaspora, was explored and discussed throughout the paper. Although diasporic adoptees are similar to immigrants, exiles, and refugees in terms of shared experiences of dislocation and loss, their experiences are distinct because they are forced to emigrate as infants or children. Diasporic adoptees are the most violent form of ‘victim diasporas’ who were outcasted in their own lands. Since 1953, South Korea has ‘exported’ more than 200,000 children to foreign countries. During those years, Korean government has tried to clear off the children of subordinated women such as single mothers, low-income women, and sex workers in order to solidify the national identity and patriarchic ideologies. The fact that the direction of these adoptions is from south to north and from east to west, along with the existing unbalanced power relations between the ‘receiving’ and ‘giving’ countries, clearly signifies that these unilateral flows of transnational adoptions need to be discussed and analyzed through postcolonial and diasporic discourse perspectives. Somebody’s Daughter, a fictional story of nineteen-year-old Sarah Thorson and her birth mother Kyung-sook, exemplifies the diasporic nature of transnational adoption. One of the novel’s assumption is that transnational adoption is a market oriented economic transaction, and therefore, adoptees are exported as a way of ‘fattening the government coffers’ with adoption fees. As a returning diasporic adoptee, Sarah is intrigued by Korean culture and decides to search for her ‘true’ mother, or the meaning of origin and homeland. In the novel, Sarah’s story is juxtaposed with that of Kyung-sook’s, who was forced to let her baby be taken away. Kyung-sook has suffered all those years by the traumatic memories. As the novel unravels both Sarah’s and Kyung-sook’s hidden and forgotten stories, the readers eventually encounter the entrenched patriarchic ideologies as well as the prejudices and discriminations against single mothers in Korean society.

고국은 없다: 돈 리의 「고국」에 나타난 인종과 정체성

황은덕(Eundeog Hwang) 한국영미어문학회 2015 영미어문학 Vol.- No.118

This paper explores the ways in which race and identities are represented in Don Lee’s Country of Origin . Set in Tokyo in 1980, the main narrative of the novel surrounds Lisa Countryman’s disappearance and her quest for the origin and birth-mother in Japan. As the story unfolds Lisa’s whereabouts and her pain of not having a racial identity and an ethnic community, the more complex issues of collective/ethnic/racial identities of three main characters are revealed. Even though the three characters, Lisa, Tom, and Kenzo have dramatic differences in their racial and cultural backgrounds, they all experienced the similar kinds of isolation as outsiders of their societies and shared common anguishes around identity issues; Lisa longed to rediscover her history and origin; Tom struggled to blend in an American society, not bring much attention to himself as an other; Kenzo was eager to be a member of his community and be accepted as normal. However, none of three characters’ wishes are fulfilled because, as Stuart Hall points out, identities are unstable and constantly changing and transforming, and they are always constituted within representation and in context. Therefore, identity never reflects the common experiences and guarantees oneness and collectiveness. The novel poignantly tells that there is no identity as a source of origin and beginning through the tragic narrative of Lisa Countryman.

『동양인 서양에 가다』에 나타난 디아스포라 주체

황은덕(Eundeog Hwang) 한국영미어문학회 2010 영미어문학 Vol.- No.94

This paper presents chungpa Han, the protagonist of East Goes West, as a diasporic subject who is challenging the rigid notions of nation, nationalism, and racial identity during the 1920s and 1930s in America. Arguing against the previous assumption that Han (as well as the novelist himself) is a successfully assimilated 'oriental yankee’ into mainstream American society, this paper explores a framework for thinking about how Han's complex, ambivalent, and even contradicting behaviors turned out to be not only an acute sense of survival but also a shrewd tactics employed to trick the America's dominant ideology, Orientalism. Building on Stewart Hall, Paul Gilroy and Lisa Lowe's theorization on the understanding of cultural/diasporic identities which are constantly changing and transforming into new ones, the paper features Chungpa Han's diasporic subjectivity that is marked by heterogeneity, hybridity and complexity. As a diasporic subject, Han is constantly transgressing the dichotomous boundaries of East/West, home country/host country, and colonizer/colonized. Han's ability to cross different cultures and nations makes it possible for him to be a ’graft' that connects heterogenous bodies together. Through this graft, he aims to engender a ’hybrid flowering’ that has never been seen before in either East or West

수치의 윤리와 전쟁 생존자 : 이창래의 『항복자』를 중심으로

황은덕(Eundeog Hwang) 한국영미어문학회 2021 영미어문학 Vol.- No.143

This paper explores that the shame persisted and maintained by the three war survivors in Chang-rae Lee’s The Surrendered is an ethical force arising from relationships with others, and it ultimately becomes a moral power to help and save others’ lives. The protagonists, especially Sylvie and Hector, suffer from war trauma, and they often find themselves into the passive and self-destructive state. However, the protagonists’ shame turns out to be a driving force of their moral actions since ‘the ability to feel and experience shame’ is an important factor to maintain humanity. The effect of shame underlying the passivity and self-destructivity of the protagonists made us think about humanity or dignity as a human being that even horrific war experiences could not completely destroy. Moreover, none of the three protagonists can properly express the tragedy of war they experienced because they can not express the ‘unspeakable things’ by words or writing. Even though the protagonists don’t have the ability to express the tragedy of the war they experienced, they are the ones maintained the ‘ethics of shame’ through the interlocking process of the subject-nonsubject-subject. This shows that human existence is constantly on the move and sways in the gap between the subject/nonsubject and humanity/inhumanity. Even in the world of metaphoric Auschwitz, where it is ‘always and already repeated’, the ethics of shame will remain persistently in humans and play a role in maintaining humanity.

폭력과 저항의 기록 : 프롤레타리아트 작가되기

황은덕(서평자) 오늘의 문예비평 2016 오늘의 문예비평 Vol.- No.-

디아스포라와 문화번역: 수잔 최의『외국인 학생』을 중심으로

황은덕 ( Eun Deog Hwang ) 한국현대영미소설학회 2013 현대영미소설 Vol.20 No.1

Based on the notion that diasporas can challenge national narrations and the discourse of nation, this paper examines the fluid nature of diasporic identity and the practice of cultural translation represented in Susan Choi`s The Foreign student. Ahn Chang, one of the protagonists of the novel, is a diaspora who escaped from the war-torn and occupied South Korea. Chang`s diasporic identity is marked by the fact that he adopts a ``pragmatic philosophy of survival`` both in South Korea and in America; he neither aligns himself with North Korea nor supports South Korean (and American) government. Chang, as a skilled translator, realizes that translation itself belongs to ``the zone of intentional misinformation and it always creates a by-product, a third thing.`` In fact, the third thing is the unexpected yet creative product of the translational act which can create the interstitial space of linguistic/cultural communication. Focusing mainly on the way translation constitutes Chang`s identity formation, and the scope translation develops and improves the communication between the two protagonists, Chang and Katherine, this paper argues that the very failure of translation helps open the new space of an ethics of differences` of an ``ethics of translation.`` As Chang and Katherine understand and respect each other`s linguistic and cultural differences, their acts of translation open up a new site of cultural communication and translational collaboration. As diasporas themselves point to the very forceful and void nature of nationalism, hybrid and heterogeneous nature of cultural translation unmasks the transparent assumptions of cultural supremacy and cultural imperialism.

디아스포라 여성 예술가: 차학경의 『딕테』

황은덕 ( Eun Deong Hwang ) 한국현대영미소설학회 2010 현대영미소설 Vol.17 No.3

Theresa Hak Kyung Cha`s Dictee and other visual art works have expanded the notions of both what a book is and what an art work is. As a radically experimental text, Dictee incorporates narrative sections, poetry, modern Korean history, Greek mythology, photography, calligraphy, and other elements of art works. Moreover, the narrator in the text is neither wholly distinct nor identified with the author; multiple subjectivities are emerging in the text and it is evident that the text refuses to reflect a coherent and stable identity. The subject of Dictee is neither developmental nor univocal. As one main narrator in the text, the Korean American woman, exceeds the boundaries and categories of a single national culture and identity, this paper proposes the woman as the `Diseuse` who constantly tries to excavate and speak about the `unemployed` and `unspoken`. As a diasporic woman artist, the `Diseuse` painfully tries to represent the unemployed and unspoken from the past and history. The diasporic woman artist creates a new kind of language of her own called `pidgin` to `relay the others`. The pidgin is a subversive form of language which omits, inserts, and converts the dominant languages, English and French. Through her new inventive language, a mixed and hybrid form, the Diseuse finds her own way of representing others.

페미니즘과 우머니즘 -앨리스 워커의 『컬러퍼플』(The Color Purple)에 나타난 우머니즘

황은덕 ( Eun Deog Hwang ) 부산대학교 여성연구소 2007 여성학연구 Vol.17 No.1

Black feminism aroused during the 1960s when white middle class feminism and male-oriented human rights movement ignored and excluded black women`s class and race issues in their discourses. One of the prominent black feminists is Alice Walker who is a poet, novelist, essayist, lecturer, and human rights activist. Walker visited Pusan in 2004 and lectured about her thoughts and ideas on various issues. She explained what it meant to be a `womanist` and suggested readers should read The Color Purple, her third novel which gave her the Pulitzer Prize, through the `womanism` perspective. Alice Walker`s `womanism` is a theoretical and practical alternative to Eurocentric feminism which has been mainly sustained and operated by white middle class women theorists and activists. The word `womanish` comes from African American culture. According to Alice Walker, "acting womanish" is the foundation of self-love and human love as black or colored women. A woman is womanish when she is `strong, courageous, willful, outrageous, creative and comprehensive`. A womanish woman is the one who can say that `the colored race is just like a flower garden, with every color flower represented`. The heroine in The Color Purple, Celie, is a silent `subaltern` who is doubly oppressed with her blackness and feminity in a patriarchal, male-dominated society. She has been abused sexually and physically by her step father and husband. But Celie can gradually speak to the world through her writing letters to God. Celie`s sister, Nettie, is far better educated than Celie. Working as a missionary in Africa, Nettie continues to write letters to Celie and unveils the African reality appropriated by Western colonialism. Sofia is a constant fighter against the unjustness around the world. And Shug is a soul seeker who tries to guard spirituality of this world. Nettie, Sofia, Shug are the `womanists` who help Celie find her own voice and identity as a womanist.