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Journal of English Studies in Korea

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수록정보
수록범위 : 1권0호(2001)~39권0호(2020) |수록논문 수 : 282
영미문학연구
39권0호(2020년 12월) 수록논문
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KCI등재

1해롤드 핀터의 『재는 재로』에 나타나는 개인의 기억과 집단 트라우마, 그 수행의 제의적 의미

저자 : 김다산 ( Dasan Kim )

발행기관 : 영미문학연구회 간행물 : 영미문학연구 39권 0호 발행 연도 : 2020 페이지 : pp. 5-36 (32 pages)

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This paper aims to examine Harold Pinter's antepenultimate play, Ashes to Ashes, with an intense focus on its political performativity. By delving into the political dimension of memory and its performance, this study defines the act of remembering in Pinter's play as critical dynamics in forming the playwright's political discourse. In the play, Rebecca performs trauma within the narrative domain. Through the act of remembering and memory re-construction, Rebecca brings individual experience to the realm of communal involvement. The shifting subjects between perpetrator, victim, survivor, and bystander in Rebecca's recollection inform communal responsibility for atrocity and transfigure personal suffering into collective history. In contrast, Devlin performs trauma in the corporeal dimension. He eventually repeats the past by replicating the exact kind of physical abuse the ex-lover had enacted upon Rebecca. The past and the present, performance and reenactment of trauma all dovetail in the person of Devlin as he performs the role of the ex-lover. In addition, the repetitive references to the Holocaust not only evolve private memory into communal history but also transcend its political discourse beyond a specific geographical/temporal context. The play was written in 1996 when Pinter's political critiques of American imperialism reached their climax. The play's opening line says, “Time: Now.” While the characters' trauma of Fascism works as a political metaphor for the playwright's contemporary preoccupation with US foreign policy, the de-contextualization of temporal dimension further expands the play's political context into a far more universal human experience. In the end, the transference of experience and the shared sense of guilt promote the kind of political awareness to face the 'truth' Pinter urged for in his Nobel speech.

KCI등재

2“인간적이지 않은” 부성: 프랑켄슈타인의 기형 괴물과 테라토포비아

저자 : 노애경 ( Aegyung Noh )

발행기관 : 영미문학연구회 간행물 : 영미문학연구 39권 0호 발행 연도 : 2020 페이지 : pp. 37-63 (27 pages)

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Out of all the allegorical meanings attached to the monster in Frankenstein, this paper attends to his being a “child,” a laboratory-assembled one at that, abandoned by his creator and father for his physical deformities. As Frankenstein's disownment of this allegorical child is prompted by his abhorrence of the child's perceived visual image, it stands comparison with the manner in which the blind father of the De Lacey household readily opens himself up to this monstrous stranger, though it is short-lived, sabotaged by his children with normal vision. The monster construes the blind patriarch's sympathetic understanding of his need for kindness and protection as a beacon of “humanity.” The contrast between the “humanity” of such blind hospitality and the consequential inhumanity of the other visually judgmental laboratory-father furnishes this paper a key leitmotif underlying its characterization of Frankenstein's neglectful fatherhood “that can't be human.” While a popular scholarly focus in the discussion of the novel has been the ambiguous humanity of its iconic monster, this paper veers to the inhumanity of his human creator and father, whose normal sight only serves to handicap his rational humanity as it assists in a superficial judgment on the existential worth of his creature and for the worse, his demonization. The paper attempts to gauge the inhumanity of a human father, a rational scientist of Enlightenment whose bioethical failure stems from the irrational superficiality of basing his judgment on the perception of eyes. In its ending note, the paper adds that Frankenstein's exclusionist bioethics against the “deformed” and “ugly” creature of his making puts Shelley's novel in resonance with our contemporary concerns about abandoned children, particularly those with physical differences.

KCI등재

3환경오염과 가부장제의 중층적 느린 폭력: 돈 드릴로의 『백색 소음』과 소피 매킨토시의 『물 치료』

저자 : 박신현 ( Shinhyun Park )

발행기관 : 영미문학연구회 간행물 : 영미문학연구 39권 0호 발행 연도 : 2020 페이지 : pp. 65-100 (36 pages)

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This paper aims to explore how toxic environment and toxic patriarchy, the two modes of slow violence, mutually entailing, threaten female bodies in White Noise by Don DeLillo and The Water Cure by Sophie Mackintosh. These novels reveal that in environmental disasters female bodies become much more vulnerable, and exposed to danger than male bodies since toxic earth, toxic air, and toxic masculinity are closely entangled. White Noise and The Water Cure portrait female bodies haunted by fear of contamination, and affectively experiencing through sensory organs both contamination and threat of contamination. For the female characters, threat itself has an actual mode of existence, and fear itself is the felt reality, present as the affective fact, regardless of whether or not the potential threat transforms into reality. In these novels, it turns out that preemptive actions and actual disaster influence each other, and preemption and real event interactively produce each other. As alternative to masculinist and patriarchal approach to the Anthropocene, Anthropocene Feminism suggests that we should not universalize the human, eliding meaningful differences among different human groups. This paper maintains that we need to first find the solutions to patriarchal structure of families and improve the lives of female victims in order to engage environmental pollutions, instead of proclaiming that women and men equally should feel responsible and guilty by universalizing the responsibility for environmental crisis in the name of Anthropocene.

KCI등재

4수치심의 인지와 진정한 수용방편 모색: 프리모 레비의 증언집을 중심으로

저자 : 서길완 ( Gilwan Seo )

발행기관 : 영미문학연구회 간행물 : 영미문학연구 39권 0호 발행 연도 : 2020 페이지 : pp. 101-124 (24 pages)

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In recent times, the study of shame theory has moved toward developing a concept of shame that inherently characterizes it in a negative way. In contrast, existing research tends to focus on the negative nature of shame, whereby its effects tend to regard shame as an object of treatment (in other words, a pathological emotion that destroys or weakens someone). This paper focuses on the positive function of shame and explores how it can be used as an ethical practice. This work is in line with the writings of Primo Levi, a Holocaust survivor who recalled shameful experiences through his main collection of testimonies. It is no exaggeration to say that Levi spent his life testifying about the traumatic shame of Nazi concentration camps that survivors would not want to relive. The shameful past that Levi explores in his testimony embodies the negative characteristics of shame defined in existing shame studies; however, instead of escaping it, he repeatedly encounters it by responding posthumously to calls from other people who have failed in the past. Morgan's concept of “self-introduced shame” confirms that Levi's work is a possible way to truly recognize and accept shame. Michael L. Morgan's concepts of “self-introduced shame”, “voluntary shame”, “artificial shame” confirm that Levi's work is as much a possible way to truly recognize and accept shame. Morgan's shame, all of which are used interchangeably, are artificial forms of emotion rather than natural feelings that arise when suddenly confronted with shameful situations. Emotionally, shame provokes reflection and self-examination. Morgan' shame capitalize on this aspect of shame productively. This paper presents that by reading the strategy of his writing recalling his shameful past as artificial shame, his work is not only a means of truly recognizing and accepting shame, but also an ethical and practical work that allows him to escape from moral inertia and lethargy.

KCI등재

5Locating John Keats and the Poetics of Dwelling

저자 : Mikyung Park

발행기관 : 영미문학연구회 간행물 : 영미문학연구 39권 0호 발행 연도 : 2020 페이지 : pp. 125-153 (29 pages)

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This paper investigates the ways in which John Keats strives to write from his visits to the Isle of Wight, which is a crucial and yet relatively neglected locality in studies of the relationship between his poetry and places. We aim to underscore Keats's explicit account of poetry as the sole purpose of his existence while dwelling on the island. In this regard, it is worth noting that Martin Heidegger's claim for the poetic dwelling of human beings is adequate to our discussion of Keats's poetics of dwelling as a founding of his being in the words. Keats experienced the Isle of Wight at least three times: first, in April 1817; second, in June, July and August 1819; and third, when he passed by off Yarmouth in September 1820. Despite the fact that Keats stayed only briefly on the island and his base was at Wentworth Place in Hampstead, London, the Isle of Wight was integral to forming Keats's life and poetry. His dwelling on the Isle of Wight marked important moments: the beginning of Endymion, composing the sonnet “On the Sea” at Carisbrooke; writing the first love letters to Fanny Brawne from Shanklin and working on both Otho the Great and Lamia; and sending Charles Brown the last letter from the soil of his own country, “off Yarmouth,” en route for Italy. Keats's sense of place points to his aspirations for drawing inspiration from places as mediated by the creative imagination. Hence, this paper calls attention to how Keats puts poetic meanings into places he visited and discovers his continual quest for a fixed point of reference―“still stedfast, still unchangeable.” Keats has created a lasting space of dwelling, that is, his own poetry and letters via the readers.

KCI등재

6“Wear Me”: Audre Lorde's Poetic Performance Toward Survival, Healing, and Transformation

저자 : Nari Sohn

발행기관 : 영미문학연구회 간행물 : 영미문학연구 39권 0호 발행 연도 : 2020 페이지 : pp. 155-195 (41 pages)

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Audre Lorde, who publicly identified herself as a black lesbian feminist warrior poet in the America of the 1970s and 1980s, asserts the importance of poetry for marginalized subjects, particularly for black women, and of their resistance against silence. This paper seeks to pay detailed attention to her poetry, particularly to methodology, form, and effect, in relation to her political philosophy of poetry and with the help of a Butlerian lens of performance. The question underlying this paper is what exactly Lorde 'does' in and through her poetry as one of the rare twentieth-century poets who proclaim the revolutionary or transformational power of poetic language. Lorde's idea of 'poetry' as expressed in her essays and interviews, which is inseparable from or almost synonymous with her politics of emotion/the erotic, can be summarized as the politics of self-restoration toward the survival, healing, and self-empowerment of black women. Focusing on six of Lorde's poems in The New York Head Shop and Museum (1974) and The Black Unicorn (1978), and frequently employing Judith Butler's terms from her performativity theory of gender and identity, this paper examines how Lorde's non-conformist poetic performance resignifies the hegemonic force of white-normative, Eurocentric heterosexism. I look particularly at how her poetry redefines the imaginary, love, and identity and redirects internalized oppressions to empower black female lesbian subjects, focusing on her parodic recontextualization of symbolism, her self-reflexive poetic performance of the lesbian erotic; and her spiritual, ritualistic performance of identity and emotion toward the personal and social, psychic and discursive survival and transformation of black/lesbian women.

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1연안해역에서 석유오염물질의 세균학적 분해에 관한 연구

(2006)홍길동 외 1명심리학41회 피인용

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2미국의 비트코인 규제

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2미국의 비트코인 규제

(2006)홍길동41회 피인용

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