멜빌의 『모비 딕』과 산업자본주의의 여명

홍승현,(Hong Seung Hyun) 한국외국어대학교 영미연구소 2016 영미연구 Vol.36 No.-

허먼 멜빌은 한 편지에서 말하길, 그가 문학작품을 집필하는 데에는 두 가지 종류의 노동이 있다. 하나는 주머니에서 온 것이고, 또 다른 것은 마음에서 온 것이라고 밝혔다. 그가 노동을 두 가지로 나눌 때 고전적인 마르크스주의에서 논한 노동의 분업과 상품 페티시즘의 소외 개념을 상기시킨다. 멜빌이 그의 대표작인 『모비 딕』을 집필할 당시는 산업자본주의가 동틀 무렵이었다. 따라서『모비 딕』을 당대 산업자본주의 혼란스러운 태동기의 산물이라는 분석은 그리 근거 없는 억측은 아닐 것이다. 이 작품은 일면 그 당시 새롭게 펼쳐지는 산업자본주의 시장의 주도적인 역할이 초래하는 당대까지 경험해 보지 못했던 문 제들을 반영한다. 여기서 고래잡이 배인 피쿼드호는 하나의 주식회사로서 전 세계의 여러 연안에 산업자본주의를 퍼트리는 첨병 역할은 한다. 따라서 주식회사 를 운영하는 독선적인 경영자인 에이허브는 천연자원을 개발하기 위해 선원들을 체계적인 노동 분업으로 착취한다. 하지만 불행하게도, 주식회사 피쿼드호의 사업은 재앙으로 끝나게 된다. 그 비극의 씨앗은 에이허브의 광기어린 집념의 대상인 모비 딕에 있다. 마치 스페인 금화가 선원들에게 그랬던 것처럼, 그리고 마르크스가 주장한 상품 페티시즘에서 상품이 노동자에게 그런 것처럼, 모비 딕은 에이허브에게 신비로운 존재가 된다. 에이허브는 산업자본주의 덕분에 피쿼드호를 자신의 사적인 소유로 이용했지만, 끝내 그는 산업자본주의의 비인간적인 모순으로 인해 파멸에 이르게 되는 것이다. Herman Melville says, in a letter, that there are two kinds of labor wielded to produce his literary works: one from the “pocket” and the other from the “heart.” When he divides his labor into the two categories, he reminds us of the classical Marxist argument about the capitalist division of labor and the alienation of commodity fetishism. It was at the dawning of industrial capitalism that Melville created his major work Moby-Dick. That is why it may not be baseless to argue that this masterpiece should be a product of contradiction arising from the disturbing early stage of industrial capitalism. In a way, the novel reflects, into its textual entity, the uncharted dilemma of living under the dominant influences of the newly established market-economy of industrial capitalism. The whaling ship Pequod as a joint‐stock company is also a pioneering outpost to spread industrial capitalism to many coasts around the world. Thus, as an authoritarian manager of the Joint‐stock company, Ahab orchestrates the work of the crew into the systematic division of labor, which unwittingly amounts to the exploitation of natural resource. Unfortunately, the business of the joint‐stock company Pequod ends in a devastating failure. The seed of tragedy lies in the object of Ahab’s quest, Moby Dick. Like what “the doubloon” does to the crew of the Pequod, and then like what a commodity becomes to its producer in Marx’s theory of commodity fetishism, so does Moby Dick become “a mysterious thing” to Ahab. While Ahab turns the Pequod into his own private property in the spirit of industrial capitalism, he is also another victim to its inhumane contradiction.

케이트 쇼팽의 「소명과 목소리」와 제임스 조이스의 「참혹한 사건」

홍승현(Seung Hyun Hong) 한국영미어문학회 2014 영미어문학 Vol.- No.114

Chopin's "A Vocation and a Voice" parallels in many ways to Joyce's "A Painful Case". Basically, both stories concern the two male protagonists' struggle between the world of spirit and body, or Thanatos and Eros. The unnamed boy, later called Brother Ludovic, must choose between religious vocation and a sensual life with a gypsy woman called Suzima. The unmarried James Duffy is torn between his paralyzed, repressive life and romantic love with Emily Sinico. Chopin and Joyce feature the two contrasting worlds which are spiritual world and primal instinctive world. In both cases, the women characters, Suzima and Sinico seem to represent the realm of intuition and desire for the male protagonists. The pivotal function of voice is driven throughout the two stories to the ending. Both Brother Ludovic and Duffy recognize their women with very auditory sense. At the end, Brother Ludovic follows the beautiful voice of the gypsy woman. Duffy could not feel Sinico near him nor her voice touch his ear. Duffy's way of remembering her depends much on auditory sense. The love relationship with Suzima immediately affects the boy's sense of identity because his discovering sexual nature leads him to the new sense of selfhood. On the other hand, Duffy's self-knowledge makes momentary epiphany, thereby enabling him to ruminate on his former sterile life as an outcast from life's feast.

Agminated Lentigines 5예

홍승현 ( Seung Hyun Hong ),홍진호 ( Jin Ho Hong ),송해준 ( Hae Jun Song ),오칠환 ( Chil Hwan Oh ) 대한피부과학회 1995 대한피부과학회지 Vol.33 No.5

Agminated lentigines may be defind as a circumscribed grouping of small pigmented macules arranged in a small or large group, often in a segmental pattern, each macule consisting of a lentiginous epidermal proliferation of melanocytes. We report five cases of agminated lentigines in otherwise healthy persons. Histologic exarnination of the pigmented lesion revealed findings consistent with lentigo simplex. (Kor J Dermatol 1995;33(5): 983-987)

중심과 주변간의 경계 허물기

홍승현(Seung Hyun Hong) 한국영미어문학회 2010 영미어문학 Vol.- No.96

Aphra Behn was the first woman in England to make a successful career as one of the earliest English novelists. Her best known work, Oroonoko or the Royal Slave(1688) has been recognized as a seminal work in the tradition of antislavery writings. Behn advanced the cause of abolitionism when she created the first literary portrayal of the noble savage, Oroonoko. Gulliver's Travels(1721) by Jonathan Swift also critiques colonialist ideology. The personal colonizing process of which Gulliver is victim is suggested in his voyages to Lilliput, Brodingnag, and Houyhnhnms. In direct conflict with himself and his own kind, Gulliver assimilates into foreign cultures. The two texts, I believe, are especially interesting test cases for postcolonial perspectives. In this paper, I hope to explore the relation between the Imperial 'self' and the native 'other,' since an institutionalized discourse of the "Other" is a hot issue for the political agenda of colonization. In Oroonoko, the black male protagonist can only speak through the white female writer. In the marginal position of a woman in a patriarchal colonial society, she never seems to criticize slavery directly; From an elitist focus, she only describes the fate of an African prince. Gulliver's Travels, in contrast, reflects that Swift's or Gulliver's struggles against colonization is a distinctly novelistic device. As the slave theme, for Swift, is described in a more complicated and deeper level than Behn's, it provides an opportunity for exercise in satirical prowess. In conclusion, the two texts reveal colonial exploitations and British colonizing practices. Both Behn and Swift, in different ways, thunder against the brutality and malfeasance of the institution of slavery.

어네스트 헤밍웨이의 "큰 두 갈래의 강"에 나타난 테크닉: 헤밍웨이의 저변의 빙산 들어올리기

홍승현 ( Seung Hyun Hong ) 韓國世界文學比較學會 2009 世界文學比較硏究 Vol.29 No.-

어네스트 헤밍웨이의 "큰 두 갈래의 강"은 헤밍웨이의 테크닉과 스타일의 정수를 보여주는 작품이다. 헤밍웨이의 테크닉이 보이는 것 저변에 숨겨진 의미를 가진 빙산에 비교되는 이유는 플롯 구성이 단조롭고, 묘사는 전적으로 외부적이지만 여기에 숨겨진 의미는 전적으로 내부적이라는 사실에 근거한다. 이 글의 목적은 마치 빙산의 일각처럼 보이는 헤밍웨이의 스타일을 통해 빙산의 몸체 즉, 저변에 존재하는 작가의 메시지를 읽어보는 데에 있다. 소년기와 순수함을 암시하는 초원과, 성인기와 전쟁의 경험을 상징하는 늪 사이에서 강은 여전히 변함없이 흐른다. 두 세계를 아우르는 그 강에서 침착하게 송어 낚시를 하는 닉 애덤스의 표면 이면의 내면은 전쟁의 폭력과 그로 인한 충격으로 뒤얽혀있다. 실제로 헤밍웨이는 전쟁에서 생명이 위험할 정도의 큰 부상을 당했는데, 부상 전의 삶과 부상 후의 삶의 이원성이 "큰 두 갈래의 강"에 반영되어 있다. 헤밍웨이의 기법은 직접적 묘사나 감정적인 언어 표현이 아니라, 닉의 시선으로 관찰되는 조심스레 선택된 이미지로만 주인공의 감정세계가 드러난다. 따라서, 세잔이 풍경을 인상주의적 기법으로 그리는 화법과도 유사하고, 세잔의 영향을 받은 거투르드 스타인의 글쓰기와도 흡사하다. 헤밍웨이에게 있어서 감정은 그와 관련된 작은 세부적인 일의 묘사를 통해 표현된다. 헤밍웨이는 독자와 작가가 똑같이 느낄 수 있는 감각(sensation)의 성분을 그대로 묘사하는 작업이 예술가의 소명이라고 믿었다. "큰 두 갈래의 강"의 실제 이야기는 전쟁에 나간 소년이 큰 부상을 당하고 나서 전쟁 후의 정신적 외상을 보인다는 내용이지만, 헤밍웨이는 결코 전혀 이러한 스토리를 직접적으로 얘기하지 않고, 절제된 테크닉을 통해 은밀한 방법으로서만 내용을 전달하고 있다. 결론적으로, 헤밍웨이의 스타일과 테크닉은 표면 밑의 빙산의 본체와도 같이 숨겨진 내용과 메시지를 들어올릴 수 있는 지렛대의 기능을 하는 것이다.

윌리엄 셰익스피어의 『자에는 자로』―여성 목소리의 상실에 대한 페미니즘적 읽기

홍승현 ( Seung Hyun Hong ) 21세기영어영문학회 2017 영어영문학21 Vol.30 No.1

From a feminist perspective, this essay attempts to show that, in Measure for Measure, patriarchal oppression and rigidity entrap its main female characters into the loss of their own voices. Representatively, Isabella and Mariana, who do not have the social opportunity to articulate their own voices, are eventually degraded into the passive role of women as the objects of exchange by the patriarchical order. This essay, therefore, tries to analyze the passivity and enforced silence of the two heroins in the play, using the feminist theories of Elaine Showalter and Susan Gubar. Both Showalter`s “Wild Zone” and Dinesen`s “The Blank Page” discuss how women are able to disrupt, symbolically at least, the oppressions of the patriarchal power and order. In these symbolic dynamic dimensions, women can possess their own voices and autonomies. Although Isabella partly controls her voice by way of using her intelligence and tactful discourses, the author makes her an unsettling character because of her virtuous ethos. The self-definition of female sexuality has been denied by the constant confrontations of the male authority in Measure for Measure. Women in this play must endure the silence and emotional restraints enforced by the male authority. Furthermore, Isabella is missing from the stage at the end of the play, which prevents her from replying to the Duke`s proposal. Therefore, few would disagree that there is an absence of women`s measure for men`s measure, after all.

D. H. 로렌스의 『아들과 연인』과 케이트 쇼팬의 『자각』: 정신과 육체의 투쟁과 분열

홍승현 ( Seung Hyun Hong ) 한국로렌스학회 2013 D.H. 로렌스 연구 Vol.21 No.1

The ontological dichotomy of the Word and the Flesh is a metaphysical concept which Lawrence recognized at an early stage but which continued throughout his life and works. Lawrence`s concept of polarity confronts the divisions: body and spirit, female and male, impulse and ideal, blood-consciousness and mental consciousness, and so on. In Sons and Lovers, Lawrence embodied this division in contrasting characters, such as Gertrude and Walter, or Miriam and Clara. Paul Morel goes through the internal conflict between the word of Miriam and the flesh of Clara. Miriam is expressed by Paul himself: that she is too spiritual, that she shrinks away from physical reality, that she has a stifling desire to absorb his soul. Indeed, it is Paul, under his mother`s hold, who kills life and desire, by refusing to move in physical relation with Miriam. While Paul, in contrast, is dedicated himself to the fulfilling lovemaking, his powerful desires are embodied in the person of Clara. Miriam and Clara function as emotional, sexual substitutes, making Paul`s eventual return to the maternal matrix. Because of the relation with the mother, Paul is unable to make true personal contact and sensuous intimacy with his two women. A similarly revealing comparison is offered by the deep division of the psyche and the soma in Chopin`s The Awakening. Edna Pontellier, with her romantic feelings and fantasies, persists in loving Robert. Although she does not love Arobin, who is absolutely nothing to her in emotional terms, Edna has affairs with Arobin, an experienced womanizer. Her extramarital relationships with male characters - Robert and Arobin, contributes to her mental and sensual awakening in her solitary quest for identity. For awakening to her sexuality, Edna grapples with the conflict between her

Vladimir Nabokov’s Lolita: The Art of Simulation and the Parody of Dialogic Language

홍승현(Seung Hyun Hong) 한국영미문학교육학회 2014 영미문학교육 Vol.18 No.1

There are two major motives in Vladimir Nabokov’s Lolita: one is to record an emotional apotheosis of the narrator Humbert Humbert’s invincible passion for a nymphet and the other, to transform his story into a work of art immortalizing his intriguing but very controversial passion. However, Humbert’s confession does not always correspond to the reality. Rather, he endeavors to sublimate his pathetic and illusory life of the passion up to the realm of art, which brings up, implicitly and explicitly, a question concerning the nature of artistic creation. In this sense, Lolita can be seen as a novel about the creation of the novel as a literary genre, which is constantly self-conscious to its status as an artifact. This unique character of Lolita has a very close resemblance to the concept of “simulation” proposed by Jean Baudrillard. Indeed, Baudrillad’s simulation is made up of the self-referential and self-sufficient signs free from any facts and substances of the real world. As a novel on the creation of the novel, Lolita also has a creative concern in the parody of the structural conventions and motifs of diverse literary genres. According to Bakhtin, by means of the parody, the novel realizes, in its text, diverse “images of language,” which formulate the core of the novel. In this sense, Nabokov’s Lolita could be seen as a typical example of realizing Bakhtin’s theory of the novel since, in the novel, there are multiple parodies of literary language together with heteroglot images of commercial language from modern American society. Both Baudrillard’s concept of the simulation and Bakhtin’s definition of the parody could be suitably used in illuminating very meaningful aspects of Lolita: the former can be applied to its status as an artifact, while the latter sheds light on its parody of heterogenous but dialogic images of language.

자메이카 킨케이드의 『내 어머니의 자서전』: 식민주의적 승자와 패자 관계에 갇힌 정체성

홍승현 ( Seung Hyun Hong ) 미국소설학회(구 한국호손학회) 2009 미국소설 Vol.16 No.2

This paper examines how slavery reconstitutes the formation of Caribbean subjects in relationship to the overwhelming power of the colonial episteme in Kincaid`s work. In The Autobiography of I@ Mother, Xuela, daughter of a Carib mother and a half Scot, half African father, tries to seek her identity in the context of the colonial victor and vanquished relationship. Xuela`s dead mother is analogous to her alienation from her mother country dominated by the imperialist power. Her lifelong struggle to seek her identity and the history of her mother is completely trapped by the binary oppositional power relationship of the victor and the vanquished. I want to focus more specifically on the underlying issues of the heroine`s self-quest by analyzing characters, which reveals Xuela`s perspective of dividing the world into the victor and the vanquished. Chapter I1 concerns about Xuela`s mother, father, and Ma Eunice, teacher as her surrogate mothers. Chapter III includes three men who have sexual affairs with the heroine, their wives as well by positioning them as the dominant mode of binary power relations. I am especially dram to the myriad tactics in which Xuela returns constantly to the raw materials of the self in order to survive. Trapped in harsh world of power relationships, Xuela comes to realize that the way to avoid being dominated is to destroy others. To be a victor, she has many survival tactics: By positing herself as the victor, she tries to overcome her sense of defeat, caused by the loss of mother, linked with historical realities. Xuela, who has never been loved, also fails to love someone else and becomes cold-blooded human being. Xuela, d o owns nothing, uses her body as the tool of exercising power to men. She remains childless, refusing to be a mother because of the trauma of her mother. Although death is inevitable, Xuela, on seventy, outlives all people she knew- father, stepmother, husband half-sister, and half-brother. Conclusively, the mother/daughter relationship is central to Kincaid`s fiction. Xuela`s lament for the lost mother connects her to the lost Caribbean subject in the native country. As a result, this article demonstrates how a postcolonial politics may indeed be rendered visible in The Autobiography of My Mother.

재닛 윈터슨의 『오렌지만이 과일은 아니다』: 모던/포스트모던 텍스트

홍승현(Seung Hyun Hong) 한국영미어문학회 2006 영미어문학 Vol.- No.80

  Jeanette Winterson"s autobiographical, first novel, Oranges Are Not the Only Fruit is one of those successful stories of which feminists and lesbians feel proud. Oranges, a mixture of sad and funny events, is the story of Jeanette, adopted by an evangelical family. Jeanette"s mother"s plan for Jeanette to become a missionary are thwarted when she discovers that she is having an intimate relationship with her friend. Jeanette falls in love with Melanie and this eventually leads to her leaving home, making her own way in the world. Jeanette manages to develop a positive self-image when she is surrounded by negative views of lesbianism. The novel raises the question of lesbian and gay issues, appealing for a diversity of audiences. Through the book, Winterson argues that lesbianism isn"t the problem, but people"s attitudes towards it can be.<BR>  My essay seeks to examine the meaning of the ambiguous polemical status of Oranges, a text which cuts across the modern and postmodern perspective. Like many postmodernist writers, Winterson is preoccupied with parody, pastiche, and a sense of multiplicity. Winterson seems to go beyond the endless questioning and skepticism of postmodernism because she has faith that she know why God made her and what her mission in life is. In form and intent, her novels are modern parables that read like dreams, collapsing time, and traditional narratives. It is interesting to note that Winterson"s relationship to postmodern is a collaborative dialogue with Modernism. The complexity of Oranges constantly invites widely varying alternative interpretations.<BR>  It is hard to arrive at a conclusive statement about Oranges, because it belongs to the text that can transgress so many critical stances, having asserted its fluidity and complexity. Heterosexuality is the political system within which we all live. However, as title of the book, Oranges Are Not the Only Fruit suggests, Winterson disagrees with the system, by crossing hetero/homo boundary and claiming insistent relativism and open attitudes toward lesbian and gay issues. She seems to be trying to integrate different modes of thinking by discussing a question about diversity and rethinking of history.