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『에블린』의 자연주의적 관점 : A Naturalist Aspect
김상효 한국제임스조이스학회 2003 제임스조이스저널 Vol.9 No.2
The purpose of this paper is to investigate a naturalist aspect of "Eveline"; how her paralysis, desire, and frustration are determined by her milieux. Eveline has been paralysed by her environments: Ireland's and her family's economic destitution, her father's incompetence, the Irish socio-ideological conception represented by her mother's and St. Mary's promises, But she recognizes the reality of her and her mother's lives. From this recognition, she makes a resolution to escape from her life to a new world which will give her a new happy life. Her desire to escape is formulated by many images: Melbourne, Buenos Ayres, an opera The Bohemian Girl, a song "The lass that loves a sailor," and Frark himself. All these are conceived by Eveline as a land of opportunity, a representation of secape, and her future happy life. But she cannot accomplish her desire because of the pressure of her milies: she internalized the socio-ideological climate of the time. Eveline refuses to follow her mother's life, because she sees it as a "life of commonplace sacrifice closing in final craziness," and realized fear at what she perceives as she dose follow her mother's life. But, according to her mother's insistent cry, "Dereaun Seraun"("the end of pleasure is pain," Tindall 22), if she doesn't keep "her promise to keep the home togeter as long as she could," she will be punished. There's another promise given to Blessed Margaret Mary Alacoque by Christ. It implies that if she denies suffering from her life, she will be punished. So she fears for her life, freedom, and happiness in her future married life. In an impulse of terror represented by her mother's life, Eveline makes a resolution to escape from her life. However, in a more repressive impulse of terror represented by the socio-ideological concept, she rejects her happy life of the future and continues to live a paralysed lkfe "like a helpless animal." From the point of view that the heroine's fate is determined by her milieux, "Eveline" could be called a naturalist story. It could be said that it was to show Dubliners their paralysed lives more vividly and scrupulously that Joyce wrote the story "Eveline" from a naturalistperspective.
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Schizo-Lucia on “Jungfraud’s Messongebook”: The Techno-Thanatopolitics of (Mis)Diagnosis
( Pingta Ku ) 한국제임스조이스학회 2019 제임스조이스저널 Vol.25 No.2
Carol Loeb Shloss’s radical attempt to invalidate the presumed diagnoses of Lucia Joyce’s schizophrenia in To Dance in the Wake has attracted criticism that questions her medical expertise. With no intention to endorse Shloss’s denial of Lucia’s mental illness, this paper, however, aims to trace the flaws intrinsic to Emil Kraepelin’s conception of dementia praecox through a Foucauldian archaeology and expose how his troubled legacy continues to haunt Eugen Bleuler’s nosology of schizophrenia and its modern incarnation. The intriguing fact that C. G. Jung (Bleuler’s supervisee at the Burghölzli) readily diagnosed Lucia with schizophrenia (whose etiology remains unknown and whose cure is yet to be found) invites this paper to further investigate the latent collusion between Jungian psychoanalysis and Nazi thanatopolitics―both of which cast a shadow over Lucia’s precarious life and manifest in the Wakean phrase “Sexophonologistic Schizophrenesis.” Thanatopolitics, as the dark side of Foucault’s biopolitics, is a political technology that deprives those who fail to conform to nomos (law and normality) of the right to proper life. By simulating Lucia’s symptomatic language and writing her into the Wakean circularity, James Joyce resists the thanatopolitical tendency to remove write-offs and indicates an ethical possibility to live with abnormality: a community free of excessive immunity.
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( Younghee Kho ) 한국제임스조이스학회 2020 제임스조이스저널 Vol.26 No.1
This essay explores how light and music are deployed in Joyce’s “Araby” and its film adaptation Araby by Dennis Courtney. In Joyce’s short story, both light and music are utilized in order to heighten the boy’s enchantment with Mangan’s sister and his subsequent disillusion. The lights that illuminate her on the stairs, for example, blind the boy to her real person and desire, causing him to perceive her only as an object for his own desire. Meanwhile, references to music in “Araby” reveal how the boy interacts with the world. According to Hass, music in Dubliners not only helps define the reality, but also has the characters transcend reality and reveal themselves. Jok, on the other hand, explores music and musicality within Joyce’s language. In adapting “Araby” into his short film, Courtney seems to be aware of the role of light and music. This essay thus argues that he skillfully adopts such cinematic techniques as lighting, music, and other sound effects in order to deliver and enhance the theme of the story, thereby narrating how the boy romanticizes his love, experiences discord with reality, and ultimately faces the moment of disillusionment more effectively than any storytelling does.
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「에블린」 거꾸로 읽어보기-공자와 맹자의 효(孝) 개념을 중심으로
김철수 ( Cheol Soo Kim ) 한국제임스조이스학회 2014 제임스조이스저널 Vol.20 No.1
This study aims to read James Joyce’s “Eveline” the other way around through the perspective of ancient Eastern philosophy reconsidering the state of its heroine with the same name, who has long been viewed from extremely negative and frustrating points of view by almost all of the critics. It attempts to find a different perspective on the fundamental causes of the collapse of one’s dream through the concept of ‘filial piety’ in the lessons of Confucius and Mencius. For the purpose, three elements of beauty quoted by Stephen in A Portrait of the Artist as a Young Man from Thomas Aquinas, namely “integritas,” “consonansia,” and “claritas,” will be appropriated as a framework to reconsider the story of “Eveline.”That is, the individual story will be detached from its series with its own structure analyzed independently, and then reexamined through the concept of “filial piety” in order to feel out a new way to reinterpret the story. As a result it is concluded that Eveline’s hesitation and consequent frustration of escape caused by uneasiness at uncertainty about a new experience can be reinterpreted as a sense of responsibility for the promise to her mother, which has been internalized long enough hoping to persuade her to make a decision to keep her family as long as possible without leaving her homeland. Thus Eveline’s paralysis, which has been deplored even by Joyce himself and all the critics so far seems to be eligible for the new name of ‘filial piety.’
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