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The Logic of Subjection and Circumvention in Charlotte Brontë’s Jane Eyre
Seung Pon Koo 한국영미어문학회 2017 영미어문학 Vol.- No.124
The aim of this essay was to examine the circumventive logic of subjection in Charlotte Brontë’s Jane Eyre. The Victorian classical novel has been lauded as a feminist revolutionary text because it portrays a heroine’s achievement of self-identity and self-assertion against the domination of patriarchy. From Michel Foucault’s theoretical perspective with regard to subjectivity, however, an individual cannot become a subject without the regulatory restrictions of external power. For Jane, the coercive and restrictive powers from the Reeds, Lowood institution, Mr. Rochester, and St. John Rivers contribute to the making of her subjectivity. To borrow Louis Althusser’s terms, the ideological interpellation of those external powers constructs Jane’s soul and her consciousness, although her decisions both to get married to the wounded Mr. Rochester and to sacrifice herself for taking care of him derive from her misconception that her moral and ethical enactments are firmly based on her own self will and her natural promptings as an independent female individual.
A Rhetoric of Surveillance in Charlotte Brontë’s The Professor
Koo, Seung-Pon(구승본) 강원대학교 인문과학연구소 2016 인문과학연구 Vol.0 No.49
본 논문은 샬럿 브론테의 『교수』가 일인칭 남성 서술자의 삶의 이야기에 나타난 빅토리아 시대 자립에 대한 신화의 정체를 어떤 방식으로 폭로하는가를 탐구한다. 서술자의 기억에 의존한 자서전적 서술방식은 자아 정체성 확립의 과정과 연계해 삶을 세 가지 부분으로 나누어 전개된다. 서술자는 우선 산업 자본주의 환경에서 강압적인 통제에 성공적으로 저항했다고 말한다. 다음 그는 외국 기숙학교에서 교사생활을 하면서 여성들로부터 받는 성적 유혹에 굴복하지 않았음을 밝힌다. 마지막으로 가정의 평화와 안정을 이루기 위해 노력했음을 강조한다. 빅토리아 시대 자립의 원칙을 충실하게 지켰음을 스스로 자부하는 화자의 서사는 사실상 자립이라는 경제 지배이데올로기의 희생자임을 인지 못하는 무지일 뿐 아니라, 타자에 대한 자아의 우위성을 확보하기 위한 기만적인 자기 합리화의 수사이다. 서술자가 계속해서 자아통제에 실패할까 걱정하는 불안이야말로 그로 하여금 서사 전반에 걸쳐 표현되는 자아와 타자에 대한 예민하고 집착적인 감시를 촉발하게 한다. 이 소설은 자립을 자부하는 한 영웅의 서사가 사실 거부와 억압으로 점철되는 병적 현상임을 밝히고 있으며, 남성적 자기관리에 대한 담론의 실체를 파헤친다. This essay aims to investigate the ways in which Charlotte Brontë’s The Professor debunks the Victorian myth of self-help embedded in the first-person male narrator’s life. The character’s autobiographical memories seem to record three phases of his life in accordance with the process of establishing his own self-identity: his successful resistance to tyrannical surveillance in capitalistic setting, his victorious attempt to overcome the sexual temptations from women in the romanticized and foreign environment, and his strong efforts to secure domestic peace and stability. The narrator’s panegyric on his own adherence to the Victorian self-help credo is not only a naive appraisal of his economic experience without recognizing that he is a victim of the dominant ideology of self-reliance, but it is also a deceptive and self-justifying rhetoric in order to assert the primacy of his own self over the other. The narrator’s restless anxiety over the failure of his self mastery entails his sensitive and fastidious habits of constant surveillance. Divulging a hero’s pathological symptoms of a series of denial and repression, the novel interrogates his discourse on masculine success of self-management.
Esther and the Politics of Multiple Tastes in George Eliot`s Felix Holt, the Radical
( Seung Pon Koo ) 한국영미문학페미니즘학회 2011 영미문학페미니즘 Vol.19 No.1
The purpose of this essay is to re-evaluate the significance of Esther regarding her enactment of sympathy, as opposed to critics` contention that Felix Holt is a mouthpiece of George Eliot in the novel Felix Holt, the Radical. It examines how sympathy functions in subverting the discourses of moral imperatives and instrumental reason. In the novel, the hegemonic authority exercises its dominant power over working-class habits and female aesthetic tastes in order to discipline them under the categorical and preemptive imperatives of a morality sustained by Enlightenment reason. Felix Holt is a novel of feminine resistance against male desire to categorize women as morally inferior objects and as values of economic exchange. The novel presents Esther Lyon as the sympathetic agent of a hybridity that combines her natural aesthetic taste with her acquired moral taste. The hybridity of her tastes denotes Esther`s renewed feminine subjectivity, which empowers her to invest her libido in both the domestic and the public spheres. Eliot endorses Esther by revealing that the female subject is not only able to adjust herself to the moral, economic, political, and sexual discourses of patriarchy but is also able to resist them for the fulfillment of her libidinal desires and for the enlargement of her sympathy for others.
The Dynamics of Confessional Sympathy in George Eliot's "Janet's Repentance"
Seung-Pon Koo 19세기영어권문학회 2010 19세기 영어권 문학 Vol.14 No.2
George Eliot's "Janet's Repentance" illuminates her concern with the enactment of sympathy in binding the self and the other through the unraveling of the known reality and the unknown truth suppressed in the mind of the sufferer. Janet's sorrow arises from the harsh reality in Victorian domesticity involving the patriarchal husband's violence along with the issue of drinking. The agonized voice of Janet represents the cries of Victorian women resonating from their life restricted in the domain of household. Janet's confession to Tryan about her life of agony and her addiction to alcohol is a story of trauma which attests to the oscillation between a crisis of death and her ongoing experience of life as a survivor. The reciprocity of the sympathetic communication between Janet and Tryan corroborates the capability of the female confessor's traumatic narrative to connect the two people by invoking from the Evangelical minister a kind of uncanny repetition of another traumatic scene of his past which bears resemblance to the confessor's narrative of guilt and suffering. The encounter between Janet and Tryan does not simply indicate that a devout Evangelical minister guides a dejected, afflicted, and guilty woman to a life of regeneration, but it also sheds light on a bond between the two human beings with sympathy triggered by the narratives of each other's past. Thus the third story of Scenes of Clerical Life dramatizes the dynamics of confessions whereby one's own trauma is bound up with the trauma of another.