주의(主義) 인식: 존 스타인벡의 『의심스런 싸움』과 E, 헤밍웨이의 『가진 자와 못 가진 자』

황치복 ( Chee Bok Hwang ) 미국소설학회 2009 미국소설 Vol.16 No.1

존 스타인벡의 동양적 접근과 이해

황치복(Hwang, Chee Bok) 한국동서비교문학학회 2008 동서 비교문학저널 Vol.0 No.18

In the days of the renaissance in the study and criticism about John Steinbeck, this study aims to observe and interpret the hidden corner of his literature and thought, hoping that his attitude toward morality and humanity may be illuminated well through the oriental point of view, Taoism. Therefore I thought that certain Taoistic ideas must be selected for the analysis in order to examine John Steinbeck’s The Pearl from a Taoist perspective. For the sake of practicality, four Taoist ideas have been chosen out of the wealth of Taoist philosophy; these ideas are found in all major Taoist texts and represent some of the major pillars of Taoist thought. So the first of these in relation to The Pearl is the emphasis on anti-materialism. The second is anti-intellectualism and the third Taoist principle is an insistence on a life of acceptance of what is and of our natural place within the world. Finally, the ultimate end is to become one with the Tao, to escape the determinism and temporary truths of this life through transcendence to a higher plane of existence. These four principles are central to Taoistic philosophy and provide the necessary theoretical apparatus for examining Steinbeck’s The Pearl from an Oriental perspective. Even though a main character, Kino clearly violates these fundamental Taoistic principles in his dissatisfaction with a previously happy life and in his attempts to rise above a social position, from a Taoist perspective Kino’s changes are very understandable. So I think that this black and white little parable is actually a work that blends the depths of Taoistic philosophy with Steinbeck’s own affirmation of humanity’s potential for greatness. In the East, particularly, Tao has been emphasized well above all things in the eastern teachings, and then in this respect it can be said that the problem of Tao is not only the concern of the Western society but also of the Oriental society. Therefore I dare to conclude that Steinbeck’s The Pearl must have been based on Eastern philosophy especially, Taoism.

존 스타인벡의 작품에 나타난 ‘무애착’의 힌두사상

황치복(Chee Bok Hwang) 한국동서비교문학학회 2013 동서 비교문학저널 Vol.0 No.29

John Steinbeck (1902-1968) was naturally very much interested in the Orient and the eastern philosophy because of regional character which he lived in Salinas, California. So these influences were well displayed in his works such as East of Eden, Cannery Row, Tortilla Flat. Therefore the first concern of my study is to identify if Steinbeck was influenced by Hindu idea. The Bhagavad Gita is the eternal message of spiritual wisdom from ancient India. Whether or not Steinbeck ever this scripture, one thing is certain, namely he was as much interested Indian philosophy as he was in Western. So the aim of this paper is to study how Steinbeck expressed Hindu idea through characters such as Mack and his friends, paisanos and Kino of Steinbeck’s Cannery Row, Tortilla Flat and the Pearl. Because Steinbeck believes that the root causes of our major problems are greed in these novels, he takes us back to more primitive societies and away from an age of materialism. And he felt that nothing but the attitude of non-attachment could save the modern people from annihilation of World War II. Therefore he offers us the means in his exploration of Indian philosophy to create a more peaceful and harmonious world.

팩션의 위상과 왜곡 : 성배탐색의 주제와 댄브라운의 『다 빈치 코드』 The Quest of the Holy Grail in Dan Brown`s The Da Vinci Code

황치복 ( Chee Bok Hwang ) 한국문학과종교학회 2006 문학과종교 Vol.11 No.2

존 스타인벡의 작품에 나타난 종교적 수락

황치복 ( Hwang Chee-bok ) 조선대학교 인문학연구원 2019 인문학연구 Vol.0 No.57

『분노의 포도』의 작가로 알려진 존 스타인벡은 끊임없는 종교적 성향을 가졌고 이러한 성향을 통하여 정서적이고 지적인 삶에 필요한 본질적인 인식을 그의 여러 작품을 통하여 확대시켰다. 따라서 본 연구의 목적은 작가 개인의 진술과 인용과 사건들을 통하여 작품 속에서 어떻게 그의 종교적 성향이 드러나는가를 탐구하는데 있다. 사실, 그가 어린 시절에 독실한 성공회 신자인 어머니의 영향을 많이 받았을지라도, 그는 삶을 통해 교회라는 제도적이고 획일적인 형식을 거부하여 초기 작품에 다양한 면으로 종교에 대한 노골적인 거부와 비판을 했다. 하지만 그 거부와 비판은 종교의 위선과 현실안주에 대한 거부였다. 그럼에도 불구하고, 스타인벡이 어렸을 때 읽었던 성경은 그의 작품의 대부분을 풍성하게 만드는 주된 원천이 된다. 따라서 그는 작품과 그의 삶을 통하여 어린 시절의 삶을 통해 얻은 종교성과 자연에 대한 직관적이고 종교적인 연관성을 발견하고, 약자에 대한 평생 동안의 공감을 통하여 사랑과 연민을 전달하는 전달자가 되었고 그의 작품들은 인류를 위한 종교적 지침이 되었다. John Steinbeck, known as The Grapes of Wrath, had a constantly religious propensity, which expanded something abiding and essential to his whole emotional and intellectual life. Therefore, the aim of this study is to search for the subject of John Steinbeck's religiosity from various aspects, from anecdotes, events and quotations. Actually, even if he was influenced by an Episcopalian, his determined mother, he rejected the institutional and standardized form of the church through his life and criticized the religion plainly in his early works. However, the rejection and criticism of the church are against religious hypocrisy, rigidity and its complacency. Nevertheless, the Bible was the most important source, a beacon as well as a kind of pretext for his own works. Therefore he found a faith obtained in early years and a religious and intuitive relevance to the nature. And also he was a messenger who delivered a love and compassion for the oppressed through empathy and his works are placed with the religious beacon for the mankind.

존 스타인벡의 『에덴의 동쪽』-선악의 구조와 주제의 통일성

황치복 ( Chee Bok Hwang ) 21세기영어영문학회 2009 영어영문학21 Vol.22 No.3

존 스타인벡의 『분노의 포도』의 짐 케이시와 민간전승에서의 그리스도론적 전통

황치복 ( Chee Bok Hwang ) 21세기영어영문학회 2012 영어영문학21 Vol.25 No.3

The purpose of this study is to attempt to trace the ``christological tradition`` to which Jim Casy belongs. This method of previous studies has now largely been achieved. Hitherto, the quest for literary antecedents and parallels for Steinbeck`s portrayal of Casy has largely been confined to trawling through the gospels. What I have tried to do in this essay is to establish Casy`s position in a christological tradition; a tradition stretching from the evangelists themselves, via the battlefields of the Civil War, to writers such as Hayes and Guthrie. Therefore I try to pursue a christological tradition through similarities in Christ-like figures including Jim Casy and Jesus Christ in American literature. Of Course, this trial will not be a wholly new one. Already in the 1960s Edwin Moseley noted parallels between Casy and a particular sort of “Christ figure of the thirties.” However, He errs in characterizing this christology as merely presenting in the last analysis a kind of melodramatic hero who represents the potential goodness in man. I think that Christ came as a leader of the oppressed masses, and as a sacrificial figure. Therefore, as Jim Casy is a primary character, he has a distinguishing mark in the christological tradition, Jim Casy, with his eye-catching initials, is such a Christ figure in this novel.

서지학적 관점에서 존 스타인벡의 종교적 태도와 성경사용

황치복 ( Chee Bok Hwang ) 21세기영어영문학회 2010 영어영문학21 Vol.23 No.4

This is a study about John Steinbeck`s religion attitude and use of the Bible from a bibliographical point of view. Until now Steinbeck scholars have had to rely almost exclusively upon Steinbeck`s fiction to extrapolate the author`s attitudes toward religion and Christianity. Such enterprise is fraught with critical danger, itself a trap into which we often stumble. To observe an author`s characters believing or behaving in certain ways, and to ascribe the belief or behavior to the author is, of course, a critical error of the worst kind. With the aid of Steinbeck`s published letters, recent biographies and various articles, however, I can more clearly understand Steinbeck`s own attitudes toward religion and, to the point of my study here, toward orthodox Christianity and the Bible. Therefore the intention of this study is to illustrate one tradition in Steinbeck criticism, the focus upon his use of the Bible in fiction. Moreover, as the bibliographic entries make clear, I think that it is a particularly rich but unsettled tradition, marked both by naive and superficial judgements but also by carefully sustained textual analyses that have illuminated Steinbeck`s fictional technique.

논문 : 판타지 문학의 성서적 함의와 풍유: C. S. 루이스의 『나니아 연대기』

황치복 ( Chee Bok Hwang ) 한국문학과종교학회 2008 문학과종교 Vol.13 No.3

영화매체를 통한 영문학 교육

黃致福(Chee-bok Hwang) 한국영어교육연구학회 2005 영어교육연구 Vol.- No.30

Leslie Fiedler, American critic, expressed an interest in the popularity of a new culture against Elitism in 1970s. His argument in favor of cooperation with screen in order for literature to survive in an image media age has proven to be an effective prediction today. Not only do Literature and Film share “narrative” as a common feature but they also have a high degree of mutual dependence in the technical and developmental aspects. This is why no one questions when a work of literature is made into a film or when a film is made into a work of literature. Then, what meaning does the making of a literature into a film hold? Does it mean that the medium of film is simply used as a lower category of literature? Or, does it mean a completely new way of seeing a story? Letter and image both have “narrative” as a common feature but each of them is possessed of strictly different structure. That is, Novel and Film share “narrative style” in the way they have a “story structure” but they nevertheless have strictly different medium characteristics. When a literary work is made into a film, at the same time remembering the above characteristics, the change in length and content is determined by genre in the process of adaptation. In order to look into the details of these changes, a study of specific works is necessary for a better understanding of novel and film. This study aims to critically analyze John Steinbeck's The Grapes of Wrath in the form of original novel and in the form of a complete film adaptation of the same novels. In doing so, analyses of the transformational process of the characters will be made. This study has been undertaken to find ways for literature to survive in an age of a close relationship between literary works and film. It is important to select broad materials for an efficient study of literary style and production of film. To this end, the film adaptation of The Grapes of Wrath by John Ford in 1940. The analyses of the change into a film will center on critical analyses of the transitional processes of the characters and the perception of reality by each character. The main purpose of this study is to find out how the dominant discourse builds up our visual perception. I investigated how the protagonist of The Grapes of Wrath, Tom Joad, and his mother Ma Joad's cognition of the reality changed from family-centered mind to a love of humanity encompassing pan-human race against the background of the Depression. Also, I investigated how Jim Casey's shift to transcendentalism became the source of brotherhood and social realization. In conclusion, I showed how an adaptation of novel to a film is intimately related through Steinbeck's The Grapes of Wrath and its film adaptation during the tendency of the times. In this way, I was able to conclude that mutual complementation of the two different media led this study toward thorough understanding of Steinbeck and his work.