신화의 허구성과 다이아스포라

강민건 ( Kang¸ Mingun ) 동국대학교 영어권문화연구소 2009 영어권문화연구 Vol.2 No.2

Motivated with thinking of a new literary theory so called diaspora, the purpose of this paper is to explore Heaney's postcolonial writing as he misreads the myth in decolonized Ireland. The relationship between the decolonial discourse and diasporic theory is riding on a current issue in writings. I assume that a growing interest among readers reflects this prevailing term for his work. His writing method and idea owe more to diasporic attitude in the respect that he subverts the established Irish myth. Heaney has been witnessed historical moments of Irish reality so he broke the fabricating historical myth. Heaney explored the traditional literature in Ireland, characterized by the effects of the experience of colonization and a sense of intellectual and spiritual deprivation. By way of this historical experience of authentic decolonization of his mother land, Heaney's writing became, more and more, politicized against the crisis which the repressive force of imperialism caused to occur. Under this traumatic disasters of Ireland, Heaney's poetic quest makes him the practical struggle against the colonial power in a poetic way. And he creates a new decolonial place. It could be said that the poet attitude like that is diasporic writing as a new writing one.

히니 시에 나타난 생태주의적 사고관

강민건 ( Kang¸ Min-gun ) 동국대학교 영어권문화연구소 2013 영어권문화연구 Vol.6 No.1

The essay attempts to rethink the widely acknowledged notion that the ecologial writing is a minium writing weapon to tackle the European writing and limit of modernity. Most of the intellectuals paying attention to decolonial theory have arrived in limited ideas about the recent decolonialism. As a result, the recent debates on decolonialism have been deployed under the so-called “troika of decolonial theory”, advocated by Frentz Fanon, Edward Said, and Homi Bhabha. From this point of view, the essay purports to demonstrate that the unfamiliar theory of ecology and ecological writing is widely helping to overcome the limits of established decolonial wiriting and interpretation of text. To do this, from a ecological viewpoint, the essay attempts to re-read the irish text and irish decolonial poet Seamus Heaney's poem “Gifts of Rain,” who was awarded a Nobel Prize for Literature in 1996. Heaney concentrates primarily on the origin and mother land of the conflict in “Gifts of Rain” through elegiac poems celebrating the identity, history, territory and tongue of his irish people. But his imagination and attitude of writing is based on not just a decolonial method and idea, but a ecological preoccupation on his “Mother Land.” He looks forward to finding out integrated moments in his land beyond the political, religious, and topological separations. From the view point of the ecological attitude, he finally enters into the deterritorial region against its dichotomous and counter-discursive tendency in decolonialism. Roughly speaking, some say that this new writing and epistemological method is just a utopian thought, but his ecological writing suggests that this is the most effective ways of making a new writing code and ethics moving from a silent spectator to a speaking actor/actress in the world.

비서구 세계에 나타난 탈식민 담론

강민건 ( Kang¸ Min-gun ) 동국대학교 영어권문화연구소 2008 영어권문화연구 Vol.1 No.-

Prefiguring the proliferation of postcolonial discourses in the next two decades, this essay attempts to illuminate the key issues pertaining to collectivity and individuality in postcolonial relations: territorial consciousness, linguistic domination, and cultural imperialism among others. The essay examines these interrelated questions in terms of what I would define as “postcolonial cognitive mapping.” Cognitive mapping involves demarcating cultural territories as self and other, center and margin, and indigenous intellectuals in the third world and minority intellectuals in the first world. In relation to this mapping, Fredric Jameson demonstrates that third-world texts, even those which are seemingly private and invested with a properly libidinal dynamic necessarily project a political dimension in the form of “national allegory.” That is to say, the story of the private individual destiny is always an allegory of the embattled situation of the Third World's culture and society. Meanwhile, Aubdul JanMohamed argues that the minority discourse should be located in non-identity-that is, not in shared identity such as race, nation, and gender, but rather in the shared experience of economic and cultural marginalization. At this juncture, the writing subject should be in the cultural and political thinking which is able to dialectically encompass both the collective tactics in third world and the individual one in First World. By doing this, the postcolonial writer can achieve the autonomy of his/her poetics of identity. If the postcolonial project in writing is at once to recognize and resist the continuing influence of colonialism, the only choice given is to use cognitive mapping strategically in order to achieve creative transcendence.

셰이머스 히니 시에 나타난 영어의 재생산

강민건 ( Kang¸ Min Gun ) 동국대학교 영어권문화연구소 2012 영어권문화연구 Vol.5 No.2

Motivated with the poetic utterance that “all this is signified by their language” in Heaney's own word, this essay shows that Seamus Heaney, not just by resisting past colonial domination with a decolonial literary system, has successively served for playing the colonial language in his poetic representation and finally achieved the poetic autonomy. Under and after the colonial experience, most of Irish poets have continually struggled against English political system and its language as a colonial one. But Heaney has consistently defended poetry as an agent for redressing injustices in the corrupt world and at the same time as something to be re-established and celebrated in his own right. The process of Haney's quest for playing colonial language for his Irish identity as a poet can be effectively understood by examining the way in which he employs the poetic of redress. The main subject of Heaney's poetry is to find out his Irish identification with the past linguistic tradition and its continuity. The subject is linked with the questioning of how to turn to playing the colonial language between English language and Irish language, Gaelic, which has been dominated by the ideology of colonialism. The major focus of this essay is in his redress of poetic language and playing colonial language as well as in how he appropriate language in his poetry. In this regard, I try to search for the true linguistic attitude which Heaney has made every effort to materialize in his poetry. In short, Heaney's poetics can help his writings maintain the positionality of the decolonial dicourse and the decolonial literature.

탈식민 문학과 문학의 재생산

강민건 ( Kang¸ Min-gun ) 동국대학교 영어권문화연구소 2010 영어권문화연구 Vol.3 No.2

The main objective of this essay is to investigate Seamus Heaney’s texts in terms of the decolonial discourse and the antithetical textuality, and to demonstrate how Heaney’s realistic writing has been revealed in his poetic and theoretical texts. My contention is that Heaney's realistic writing against colonial lives has been arresting critical attention among the critics, discovering that Heaney’s approach in dealing with real world has become more and more decolonial than any other established contemporary Irish poets. In fact, Heaney's poetry illustrates decolonial discourse and antithetical textuality by manifesting his own unique realistic writing. Decolonialism has achieved its cash value by subverting the colonial ideology within the context of colonized society and at the same time by reconstructing counter-discourse by means of self-identity and decolonized space. Seamus Heaney has been witnessing the historical moments of the death of his motherland, Ireland, as well as of the Irish people, as was manifested by the history of Ireland. By witnessing these moments, the Irish people broke cycle of imperial situation. The consciousness of Irish people became that of the nation. That is to say, Heaney accepted the humiliating colonial history under the colonial situation in Ireland and the humble Irish people of the present in their ordinary lives. To overcome this devastating circumstance, the poet Heaney has explored the traditional celticism which was bracketed and traumatized by the colonized experience and the intellectual and spiritual deprivation. Nevertheless, Heaney has rejected the too much mythical celticism by such established Irish poets as Yeats. Heaney interpreted the romantically-exaggerated heroism in the celticism of the Irish literary tendency as the self-defence mechanism of the colonialized and the dispossessed people. By way of this historical experience of the authentic decolonialization of his motherland, Heaney's aesthetics became more and more politicized against the crisis which the repressive force of imperialism caused to occur. Under this traumatic disasters of Ireland, Heaney's poetic quest enables him to struggle against the colonial power in a poetic way by demythologizing romantic celticism as well as by finding out the real poetic autonomy. To demonstrate my argument, this essay has attempted to analyze Heaney's texts and to trace decolonial aspects revealed in his poetry. This thesis has also attempted to examine Heaney's attitude against English colonialism in the process of his poetic development. My major focus in my analysis is in his realistic writing as well as in how Heaney appropriates language in his poetry. In this regard, I try to search for the true Irishness which Heaney has made every effort to materialize in his poetry. To conclude, the decolonial discourse and its textual strategy have their own tactics, and have significant implications that lay bare the dominant ideology hidden by the seemingly impersonal intention of colonialism. In short, Heaney's poetics can help his writings maintain the positionality of the decolonial discourse and antithetical textuality.

포스트모더니즘 시대의 경계문학

강민건 ( Kang¸ Min-gun ) 동국대학교 영어권문화연구소 2011 영어권문화연구 Vol.4 No.2

The essay attempts to demonstrate that the unfamiliar theory of ecology and ecological writing is widely helping to overcome the limits of established decolonial wiriting and interpretation of text in the postmodern age. To do this, from a boundary literary viewpoint, the essay attempts to re-read the irish text and irish decolonial poet Seamus Heaney’s poem “Gifts of Rain,” who was awarded a Nobel Prize for Literature in 1996. Heaney concentrates primarily on the origin and mother land of the conflict in “Gifts of Rain” through elegiac poems celebrating the identity, history, territory and tongue of his irish people. But his imagination and attitude of writing is based on not just a decolonial method and idea, but a ecological preoccupation on his “Mother Land.” He looks forward to finding out integrated moments in his land beyond the political, religious, and topological separations. From the view point of the ecological attitude, he finally enters into the deterritorial region against its dichotomous and counter-discursive tendency in decolonialism. Roughly speaking, some say that this new writing and epistemological method is just a utopian thought, but his ecological writing suggests that this is the most effective ways of making a new writing code and ethics moving from a silent spectator to a speaking actor in the postmodern world.

되받아 쓰는 탈식민주의 : 파농, 잔모하메드, 스피박

강민건 ( Kang¸ Min-gun ) 동국대학교 영어권문화연구소 2016 영어권문화연구 Vol.9 No.3

The essay examines these interrelated questions in terms of what I would redefine as “postcolonialism writing back.” Rewriting postcolonialism involves demarcating cultural territories as self and other, center and margin, and indigenous intellectuals in the third world and minority intellectuals in the first world. In relation to this definition, Fredric Jameson demonstrates that third-world texts, even those which are seemingly private and invested with a properly libidinal dynamic necessarily project a political dimension in the form of “national allegory.” Meanwhile, Aubdul JanMohamed argues that the minority discourse should be located in non-identity-that is, not in shared identity such as race, nation, and gender, but rather in the shared experience of economic and cultural marginalization. At this juncture, the writing subject should be in the cultural and political thinking which is able to dialectically encompass both the collective tactics in third world and the individual one in First World. By doing this, the postcolonial writer can achieve the autonomy of his/her poetics of identity.

히니 시에 나타난 켈트 정체성과 타자성

강민건 ( Kang¸ Min Gun ) 동국대학교 영어권문화연구소 2012 영어권문화연구 Vol.5 No.1

I assume that a growing interest among readers reflects the prevailing enthusiasm for his work. Heany’s writing method and idea owe more to decolonial attitude more than that of the established poets in Ireland. His poetry has the proper qualities to absorb the devotees of ‘decolonialism’ which is still dominant in dealing with the poetry. The poet Heaney explored the traditional literature in Ireland, characterized by the effects of the experience of colonization and a sense of intellectual and spiritual deprivation. By way of this historical experience of authentic decolonization of his mother land, Heaney’s aesthetics became more and more, politicized against the crisis which the repressive force of imperialism caused to occur. Under this traumatic disasters of Ireland, Heaney’s poetic quest makes him practice struggle against the colonial power in a poetic way. To do this, My major interest is in his realistic celticism and appropriated language employed in his poetry. And I attempt to search for the true Irishness that Heaney makes every effort to materialize the reality of Ireland in his poetry.