낭만적, 파국적, 암흑의 생태학: 새러 오른 주잇, 사키 그리고 히로미 고토의 단편

김일구 문학과환경학회 2019 문학과 환경 Vol.18 No.3

Based upon ecological theories of Bill Mckibben and Timothy Morton, this paper examines the case of changed nature concepts, especially in terms of social construction of nature. By reading three representative short stories reflective of three ecological theories (romantic, catastrophic and dark ecology) , this paper aims to effectively deliver them to the next generation for the great educational purpose. The first short story for introducing the romantic view of the nature is “A White Heron” by Sarah Orne Jewett, a woman writer from Maine. The second short story, “The Intruder” by U.K. writer H. H. Monroe, aka Saki is for showing the destructive power of nature upon the humans whose behavior toward nature is merely defiantly reflexive without wisdom. For effectively demonstrating the concrete mesh by hyperobject in dark ecology, the last short story, Hiromi Goto’s “Hopeful Monsters” is analyzed as an example of the dark ecology. The postmodern constructive notion of nature of the last case can challenge the established assumption, making us more sensitive to ourselves, to others and to the nonhuman environment. 본 논문은 낙관적, 파국적, 암흑적인 세 가지 생태관의 시대에 따른 변천을 문학생태교육차원에서 효과적으로 후속세대에게 전달하기 위해 세 명의 생태작가의 대표적인 단편소설에 적용하여 그 사례를 살핀다. 여기서 분석해볼 단편작가와 단편 작품은 먼저, 미국 메인주의 여류작가 새러 오른 주잇(Sarah Orne Jewett)의 「하얀 왜가리」(“A White Heron”), 사키(Saki)라는 펜네임으로 더 잘 열려진 영국출신의 H. H. 먼로(Munro)의 「침입자」(“interloper”), 그리고 캐나다의 일본계 작가 히로미 고토(Hiromi Goto)의 「희망의 괴물」(“Hopeful Monsters”)이다. 위 단편들은 분량상 짧고 담고 있는 환경주제도 명확하고 꼼꼼히 읽기도 가능하여, 영문 장편소설의 독해에 어려움을 겪어 자칫 작가의 생태관을 간과하기 쉬운 한국의 교육현장에 수업용 텍스트로도 효과적으로 활용될 수 있는 장점이 있다. 특히 이 논문에서 강조하고자 하는 “암흑의 생태학”의 개념은 아직 국내의 생태관련 논문에 본격적으로 취급되지 않고 있고, 주창자인 티모시 모튼의 저서들도 인터넷에 단편적으로 가끔 소개될 뿐 대표적인 서적의 번역도 되어 있지 않은 상태이다. 우리가 과학과 기술의 발전으로 우주와 자연의 신비에 점차 더욱 가깝게 다가가 언제가 그 베일을 벗길 것이라는 낙관주의를 취할 것도 아니고, 반대로 악화되는 환경파괴를 묵시론적 계시로 받아들일 것도 아니라고 말하는 암흑의 생태학은 “더 많이 알수록 자신이 더 얽혀 있다는 점”을 깨닫고, 알수록 더 모든 것이 더 불확정적이고 애매해지는 자연의 특징을 강조한다.

“Actually It Was Just Love” : The “Weird” Loops of Desire in Ella Hickson’s Oil

Ha Rim Chang Ewha Institute of English and American Studies 2023 Journal of English and American studies Vol.21 No.2

Ella Hickson’s play Oil covers a uniquely long scale of time as May chases oil across history. The structure of the play transcends through a scale of time and space that is beyond the human lifespan, but also shows the everyday, individual lives and relationships entangled with it. The gap between the plot’s extreme scale over time, the many scenes in each five parts of the play that echo each other, and the performance’s ephemeralness evokes a strange feeling to the audience sitting in the middle of the performance. This strangeness brings the audience to realize that not only is the play in a “weird loop” of time and space, but the audience is also part of it. Therefore, Oil can be read as an ecological play that portrays the loop connecting humans and nonhumans. This paper aims to examine the interscenes, which is the most aesthetic part of the play, through the concept of the “weird loop” which origins from Timothy Morton’s Dark Ecology. Applying Morton’s idea of “agrilogistics” and “objects,” this paper will explore how Morton’s Dark Ecology effectively reads the five interscenes ecologically and provides a way to think of the present differently.

인류세 시대의 어둠의 생태학-비이원론의 관점에서

김임미(Kim, Im-mi) 신영어영문학회 2021 신영어영문학 Vol.79 No.-

In this paper, I examined dark ecology by Timothy Morton with the concepts of ecology without nature, the ecological thought, and hyperobjects to bring modern dualistic thinking to an end. Morton specifically invented the term, hyperobjects to describe objects that are so massively distributed in time and space, such as global warming, styrofoam, and radioactive plutonium that are really exist but we can feel and know only a part of them. Morton suggests that the ecology in the Anthropocene should be ambiguous and dark, dark-depressing and dark-uncanny, and could also be sweet and kind, while entwined and interconnected as a form of mesh in networks with human and nonhuman things. He insists we never know what exactly a hyperobject is but absolutely here as you can feel and acknowledge. In Ceremony, Silko shows how the hyperobject works and makes us feel and celebrate without following the line dualism has already drawn. This is what dark ecology and hyperobjects are for; the end of the dualism.

웬델 베리의 시에 나타난 빛과 어둠의 이미저리

전득주 ( Deuk Ju Jeon ) 한국현대영어영문학회 2013 현대영어영문학 Vol.57 No.3

Wendell Berry shows his ecological views of God and nature including human beings through his new Christian use of the imagery of light and darkness, similar to that of Matthew Fox, an eco-theologian. who endorses creation centered spirituality against prevalent fall/redemption spirituality. For Berry, the Holy Spirit`s truth is light and darkness. Light means God`s generative, connecting, and creative energy(Word), and darkness means His self giving, emptying, and suffering power. Both are closely connected because God creates by dividing himself. All the creatures are light and darkness. Light means creative individual lives and darkness, richer than light, means wilderness, symbolic and physical death and most importantly the earth. Berry`s meanings of the imagery are ecological in that by celebrating all holy lives which result from God`s ongoing divine creative energy, he confirms their intrinsic values and their mutual interdependence, respects inner and outer wilderness, cares the health of all lives and the earth. and finally appreciates the mystery of God and all lives including death. (Hongik University)

2000년대 재난소설의 ‘어두운 함께-되기’ 서사와 생명정치적 장소성: 편혜영의 재와 빨강 에 나타난 ‘자연문화’를 중심으로

임지연 건국대학교 인문학연구원 2022 통일인문학 Vol.89 No.-

This paper explores a becoming-with narrative between humans and nature, focusing on Pyeon Hye-Young's novel Ashes and Red. It approaches the place where disasters are experienced as double bio-politics. Through this, a reinterpretation of the characteristics of disaster novels in the 2000s was attempted from the viewpoint of a shared natural-cultural narrative. Up to the present, Pyun Hye-Young's disaster novels have been interpreted as highlighting the impossibility of human isolation and solidarity in a human-centered dimension. However, such a judgment arises from an anthropocentric approach to the novel. This paper explores the dehumanization of disaster narratives and the paradoxical concept of bio-politics through the following methods. First, the thesis examines the text from the viewpoint of becoming and explores the common relationship between animals and humans. "Becoming" is a concept through which a shared natural-cultural narrative can be built by criticizing privileged anthropocentrism as separate from nature. By referring to Deleuze and Guattari's "becoming-animal" and Haraway's "becoming-with" in connection with the concept of companion species, Pyun Hye-Young's novel explores "dark becoming-with." A dark relationship refers to a non-optimistic everyday relationship that entails approaching nature as a dark ecology. Second, in this novel, the main places, such as garbage heaps and sewers, are understood from the bio-politics perspective, and the pattern of the unequal unfolding of disasters is explored. This is where the bio-powers that sustain and terminate life are at work. However, it is also a place where Zoes, excluded by bio-politics, are not passive victims; rather, there exists Zoe-equality. Hence, this novel reveals a new common disaster agent that enables paradoxical bio-politics rather than the isolation of individuals who have fallen into animals. 이 논문은 편혜영의 소설 재와 빨강 을 중심으로 인간과 자연의 함께-되기 서사를 모색하고, 재난이 경험되는 장소성을 이중의 생명정치로 접근하였다. 이를 통해 2000년대 재난소설의 특징을 자연문화적 공동 서사의 관점에서 재해석하고자 하였다. 지금까지 편혜영의 재난 소설은 인간중심적 차원에서 인간의 고립과 연대의 불가능성으로 해석되어왔다. 그러나 그러한 판단은 소설을 인간중심주의적으로 접근했기 때문에 가능한 것이다. 이 논문은 다음과 같은 방법을 통해 재난 서사의 탈인간화와 역설적 생명정치 개념을 모색하고자 하였다. 첫째 소설을 ‘되기’의 관점에서 바라보고, 동물과 인간의 공동적 관계를 모색한다. 되기는 자연에서 분리한 특권화된 인간중심주의를 비판함으로써 ‘자연문화’적 공동 서사를 구축할 수 있는 개념이다. 들뢰즈와 가타리의 ‘동물-되기’와 해러웨이의 반려종 개념과 연결된 ‘함께-되기’를 참조하면서 편혜영 소설의 ‘어두운 함께-되기’를 탐색하였다. 어두운 관계란 자연을 어둠의 생태학으로 접근함으로써 일상의 비낙관적 관계를 의미한다. 둘째, 이 소설의 주요 장소인 쓰레깃더미와 하수도를 생명정치의 관점에서 파악하고, 재난이 불평등하게 전개되는 양상을 탐색한다. 이 장소는 생명을 살게 하고 죽게 내버려두는 생명권력이 작동하는 곳이다. 그러나 동시에 생명정치에 의해 배제된 조에들이 수동적 피해자가 아니라, 조에 평등성을 확보하는 장소이기도 하다. 그런 점에서 이 소설은 동물로 추락한 개인의 고립이라기보다 역설의 생명정치를 가능하게 하는 새로운 공동의 재난 주체를 발견할 수 있다.

“Eros – walking by the sea”: Ecosexuality and Otherness in The Trespasser

Seungho Lee 한국로렌스학회 2023 D.H. 로렌스 연구 Vol.31 No.1

This paper attempts to read D. H. Lawrence’s The Trespasser in conjunction with the contemporary discussion of ecosexuality. An ecosexual reading of Lawrence, while positioning the modernist writer as an early proponent of the ecosexual theory, also reveals ecosexuality’s reliance upon the conventional environmental rhetoric that overemphasizes the ecological interconnectedness at the expense of the otherness of the more-than-human world. This paper analyzes key ecosexual instances in The Trespasser to examine the ways in which Lawrence’s ecosexual vision renders both nature and embodied experience within it primarily as a dark encounter with the otherness, the aspect of other that Timothy Morton calls “strange stranger.” This paper argues that Lawrence’s work challenges the ecological/ecosexual celebration of the interconnectedness and instead proposes a complex vision of love and relation that strives to balance independence and interdependence between man and woman, man and nature.

불화의 생태학: 카릴 처칠의 Far Away

조경(Cho, Kyung) 한국현대영미드라마학회 2021 현대영미드라마 Vol.34 No.2

The purpose of this paper is to refute two misunderstandings of the British playwright Caryl Churchill’s Far Away (2000). 1) The work does not comment directly about the social events in reality; therefore, it is not political enough. 2) The playwright presents the catastrophic picture of the world in Act 3 as the impending apocalypse. Indeed, Far Away seems to acknowledge that criticism with elliptical lines of characters, abrupt transitions from farmhouse to cosmic war, and the lack of causality in the plot. On the contrary, I’d like to argue that those elements precisely constitute the Churchillian ‘political play.’ Applying Jacques Rancière’s idea of the sensible, which does not separate politics from aesthetics, this thesis aims to explore how a young girl, Joan, loses her ‘senses,’ internalizing the logic of police in everyday life. The consequence of this retribution of the sensible is the world without politics, where what Hanna Arendt defines ‘vita activa’ are merged into capitalism, and causes ‘a Hobbesian war of all against all’ in the end. However, Churchill goes further from the mere calamity and sees the new possibility that all non-human beings are released from the human concept of nature, which is the basic concept of Timothy Morton’s ‘Dark ecology.’ While all beings and even non-beings are involved in the destructive war, the final act overflows with the vitality of becoming-animals that can ally with, discord, and affect each other. In conclusion, this paper argues that Churchill invites the reader and audience to participate in this war, thereby being disturbed with anthropocentrism, creating a new sense of ecological thought.

Crying Sea, The Sound Installation: Artistic Considerations for Coexistence between Human and Technology

Jungsun Park,Hyeongseok Wi,박성우 한국멀티미디어학회 2022 The journal of multimedia information system Vol.9 No.1

As the discourse on Anthropocene grows, this exploratory research investigates the interrelationship and interconnectivity between humanity and technology by analyzing a sound art installation created by the author. Crying Sea is a sound installation that uses plastic wastes collected from the shore to create symbolic narratives and artistic experience connecting humans, objects, and nature through interactive digital technology. In this installation, the audiences are guided to walk over the wastes, and the sounds created by the footsteps are recorded in real-time, which then are distorted and amplified into disturbing sounds through speakers filling up the room. In analyzing this artwork, three theories from technological, philosophical, and ecological backgrounds were used; specifically, Bernard Stiegler's pharmakon theory, Dona Haraway's cyborg manifesto, and Timothy Morton's dark ecology theory. A common factor revealed from all three theories by analyzing the Crying Sea is that humans, technologies, and all other entities within nature are interconnected and resonated. The awareness of this recursive relationship allows us to consider sustainable balancing.

쓰레기장의 다크 에콜로지와 문학의 기록 : 난지도 소재 소설의 재발견

임태훈 현대문학이론학회 2020 現代文學理論硏究 Vol.0 No.82

쓰레기 처리에 관련된 제도와 기술 일체는 집단적 기억상실증과 정신 조작의 문화 장치다. 종량제 봉투와 분리수거장, 화장실의 배수구와 정화조, 하수종말처리장과 광역 쓰레기매립장이 현대인의 사회적 신체와 정신을 구성한다. 이 연구는 쓰레기의 역사와 문학의 접점을 찾는다. 문학은 필연적으로 장소에 관한 기록이고, 온갖 시공간에 엮인 인간과 비인간의 관계에 집중하므로, 모든 것이 쓰레기가 되어 흘러가는 세계에 어떤 강도(强度)로든 반복적으로 반응한다. 쓰레기로부터 결코 도망칠 수 없는 장소에서 이 문제는 한층 비판적으로 인식된다. 이연구에선 난지도에 대한 소설인 정연희의 『난지도』(1984), 유재순의 『난지도 사람들』 (1985), 황석영의 『낯익은 세상』(2011)를 중심적으로 다룬다. 크게 두 부분으로 난지도의 역사와 난지도 소재 소설을 분석한다. 난지도가 지나온 100 년의 역사를 파괴적 에너지의 경합 방식, 부서지고 망가진 뒤의 잔여들에서 전개되는 인간과 비인간의 복잡한 얽힘 관계에서 정리한다. 그리고 1978년부터 1993년까지의 난지도에선 쓰레기로 이뤄진 인공 지층 위의 삶을 재해석한다. 그들이 오염된 물을 마시는 방법, 쓰레기 퇴적층의 밀도와 강도를 관리하고, 발밑에서 뿜어나오는 가연성 가스와 화재에 대응하는 방식을 주목하며, 물, 바람, 공기, 흙, 풀, 벌레의 생태를 한데 엮어 사유하고자 했다. 이러한 문제의식을 본 연구는 ‘쓰레기장의 다크 에콜로지’라고 부른다.