『워싱턴 광장』: 제임스, 발작, 호손의 경계

함연진 한국 헨리제임스 학회 1997 헨리 제임스 연구 Vol.- No.2

The donnee of Washington Square was furnished by Frances Anne Kemble and James's treatment of Kemble's story was certainly indebted to Balzac. Actually there are many similarities between Washington Square and Eugenie Grande. But while James admired Balzac's skill, he placed himself in another tradition-with novelists such as Eliot and Hawthorne, who care for moral questions and are haunted by a moral ideal. And although he complained of the lack of 'paraphernalia' which his New World setting in Washington Square imposed, he nevertheless found American sources from which to draw in Hawthorne and the convention of the gothic tale. The dominant character type of "Rappaccini's Daughter, the doctor and scientific investigater, overwhelmingly proud of intellect, who crually destroys the soul of his daughter, is developed most richly in turn upon Washington Square. Each of these tales has a triangle of forces, with the heroine caught between her father and lover, who conciously use her for their purposes. Catherine and Beatrice are not identical twins, but they are similar. They are both violated by the figures who surround them. Dr. Sloper and Dr. Rappaccini are also similar. Both are men of science, but in their thwarted natures egotism and pride of mind have replaced their capacity for love. Washington Square, however, is not an exact, modern equivalent of "Rappaccini's Daughter; for one thing, its climate is more contemplative than tragic. James's imagination brought Hawthorne's situations into greater clarity on a level of psychological realism.

[로더릭 허드슨] : 뚜르게네프와 호손 뛰어넘기

함연진 한국 헨리제임스 학회 1998 헨리 제임스 연구 Vol.- No.3

It is certainly true that James admired Turgenev and learned much from him about the art of fiction. As Roderick Hudson reveals, James uses Turgenev's detached, "dramatic" method in his novel and shares his interest in sensibility. But Roderick Hudson also has a different texture than one finds in Turgenev, partly because Turgenev was more genuinely worldly than James. In contrast with Turgenev's extraordinary naturalness, one finds in Roderick Hudson an upperclass Anglo-American stiffness and consciousness of vulgarity. Turgenev's characters seem to live from their souls, while many of James's characters in Roderick Hudson live merely from the surface of their minds. However, The Marble Faun is essential to James's conception of Roderick Hudson-in its subject matter of American artists in Rome; its theme of American innocence implicated in old-world corruption; its highly suggestive patterning of a Fall. But James has improved upon Hawthorne by providing plausible and realistic specification that makes his conception socially lucid. Hawthorne's fable of the Fall is still discernible in Roderick Hudson, but it has receded into the background as poetic and moral suggestion, while the foreground is occupied by James's precise notation of manners. In his apprenticeship stories James sometimes referred to Hawthorne for insights into the nature of American experience, in certain cases, he shaped his realistic characters from Hawthorne's romance models, But in Roderick Hudson James takes leave of his old master and arrives as a novelist in full possession of his own world. Just as James makes Hawthorne's New England virgin credible, so he does also the expatriate colony in Rome. In Hawthorne, the American artist colony is so shadowy and unsubstantiated that it seems to include hardly more than four people. In James, however, there is a larger elaboration, and a precise notation of the social and psychological types who make up the American circle. Hawthorne's "heir" in the American novel, he will now have come into his inheritance, and will describe his predecessor's genius as beautiful and "provincial."

해체적 글읽기 그리고 글쓰기 : -'보스턴 사람들'을 중심으로- A Study on The Bostonians

함연진 한국 헨리제임스 학회 1996 헨리 제임스 연구 Vol.- No.1

To some extent, it is true that James has built Hawthorne into the generative processes of his art. To conceive, in James's case, is to conceive with Hawthorne's aid: to imagine a narrative world is to have recourse to Hawthorne's imaginings; to know his subjects is to grasp them in Hawthorne's light. Once the Hawthorne-James relaton is established, it is customary to turn to their books and watch how they interact The Blithedale Romance and The Bostonians were selected for this kind of reserch in this paper. My own strong sense is that the difference in the way James's novel bears influence is not explicable in terms of influence alone. The altered form of literary traditionality is one of a whole set of related transformations in turn reflect James's in auguration of not just a different way of writing but a different way of thinking about the kind of work that writing it. Not surprisingly, Blithedale becomes the central Hawthorne text for James. The Bostonians, a novel in which every effort to enlist another in a cause masks a move to enlist that other in the service of one's desires concisely reenacts what James takes to be the lesson of Blithedale: the unconcious way in which the search for the common good may cover a hundred interested impulses and personal motives. What James specifically lifts out of Blithedale is Hawthorne's way of representing the operation of abstract ideas in dramatic action. Methodological superiority is one more advantage James can claim in his ongoing struggle with Hawthorne, and during his realist phase it is the tactical weapon he relies on most heavily. By affirming the value of realism's "closer notation," he can construe Hawthorne's fiction as, in effect, unachieved-suggestive idea, but imperfect in its relization. Every blurred element in Blithedale becomes an element James can show off his superior initiation by correcting, so his goal in The Bostonians is to refashion and rewirte Blithedale in such a way as to leave nothing vague.

Henry James and the Devouring Publicity of Life : the Figure of the Journalist in The Bostonians

(Yeon Jin Hahm) 한국영어영문학회 2001 영어 영문학 Vol.47 No.4

N/A N/A

Henry James and the Rhetoric of Journalism in The Bostonians

Hahm, Yeon-Jin 한국 헨리제임스 학회 2000 헨리 제임스 연구 Vol.- No.5

At the very least, The Bostonians dramatizes the emergence of rival discursive claims, from the 'counter-public sphere' of feminism to the publicity of the mass media. More positively the novel may be read as an attempt to trace the historical transformation of the public sphere in all its complex and contradictory guises. There is perhaps no novel of which it could be more aptly said that it was written as a commentary on its age than The Bostonians. Of course, this is not to say that The Bostonians offers a more truthful account of its historical or social content than other fictional narratives by James. Rather, it is to suggest that, in this particular novel, the sign of the 'age' is constituted both as the object of fictional representation and as a rhetorical element in its interpretation. It is true that Henry James regarded newspapers as slightly vulgar, ephemeral productions, full of dated material useful only for the moment's diversion. He also had distinct misgivings about American newspapers and the extent to which a mane of letters could work for them without compromising his art. Reading Dana and company alongside James shows James troubled by the culturally mythologized figure of the hard-facts "energetic reporter". (CN 19) In The Bostonians, Pardon, Tarrant, and Basil function as displacements for James's anxiety about the popular press, while they offer occasions to demonstrate its inferiority. Especially Basil is constructed without the distasteful attributes of the print promoter, but his writings are neither literary nor prolific, and they reveal fundamentally ineffectual. In other words, writing The Bostonians, an American story not an artificial, hapless thing, James creates two straw newsmen―Pardon and Tarrant―who seem to have walked directly out of Pope's Dunciad, trailing clouds of Dullness with them. Basil Ransom is a more worthy opponent, but his literary output is of no account.

Sexual Perversions in Henry James

Yeon Jin Hahm 한국영미문화학회 2005 영미문화 Vol.5 No.1

An Approach To developing A Student-Centerd : Conversational Freshman English Program At Hoseo University

Yeon jin Hahm,Michael L,Rogow,Hyang Man Lee 호서대학교 사회과학연구소 1997 社會科學硏究 Vol.16 No.1

There are three important criteria required for the maintenance of a successful, high quality, language program at the university level: 1) a low student-teacher ratio; 2) a creatively designed, student-centered course content; and 3) an experienced, creative, and highly motivated teaching staff. The institution which neglects any one of these three factors substantially reduces the quality of the classroom experience and, therefore, its language program. This paper assumes that Hoseo University is seriously prepared to reduce its student-teacher ratio and is interested in addressing related problems in the development of a student-centered conversational freshman English language program. In this paper, we will discuss the development of a course content which is oriented toward a student-centered, one year, freshman conversation class and its associated LAB counterpart. We will then discuss and make suggestions for developing policy and guidelines which will aid the university in motivating and maintaining its most creative and experienced teachers.

The Bostonians: Henry James`s Anxiety over the Press

Yeon Jin Hahm 한국영미문화학회 2004 영미문화 Vol.4 No.2

The Cosmopolitan Interpretation of Hawthorne`s Mode of Romance in Henry James`s Novels-Centered on The Blithedale Romance and The Bostonians

( Yeon Jin Hahm ) 한국비교문학회 2012 比較文學 Vol.56 No.-

Hawthorne was of crucial importance as the only previous writer of stature James knew of who had shown how American psychological experience could be treated in imaginative literature. Hawthorne was as important to James as he had been earlier to Melville, even though the novels of James and Melville have extremely different orientations. In his critical biography Hawthorne, James makes an implicit comparison between himself and Hawthorne, whose notation of the actual world around him was vague because he was not absorbed by it, as James was. James`s relationship to Hawthorne was thus complex and many-sided and involved both close kinship and essential conflict, affinity and dissent, agreement and disavowal, the psychological chords struck by Hawthorne are sounded again by James. The individual`s selfhood has unusual importance in Hawthorne, as it does again in James. As American writers, Hawthorne and James have many similarities; their fiction, continually interested in moral problems, has an extraordinary delicacy. Especially in assimilating The Bilthedale Romance into The Bostonians, to underscore themes he shared with Hawthorne, James also made Hawthorne`s material reflect his own more worldly attitudes-his sense of the limitations of the New England mind, his concern with manners, and the possibilities of aesthetic enrichment represented for him much more by Italy than by Boston. The difference between Hawthorne`s novel and James`s, however, is the difference between Hawthorne`s “shadows and confusions” and James`s lucid social relationships, which have been made possible by exposure to a larger culture than Hawthorne had at his disposal, In conclusion, the altered form of literary traditionality reflects James`s inauguration of not just a different way of writing but a different way of thinking about the kind of work. The historical drama of James`s career, as I read it, lies in his reconstruction, eventually of the practice of the novelist`s work. Especially I suggest that in the course of James`s reorganization of influence his pride and prejudice strongly and repeatedly intervene in his consciousness and cosmopolitan mind formation. The reaction of James`s cosmopolitan intelligence upon Hawthorne`s powerfully archetypal mind eventually helps to demonstrate how the American psychological tradition came into being in the nineteenth-century.

Absent Fathers in Henry James`s Novels

함연진 ( Yeon Jin Hahm ) 한국영미문화학회 2006 영미문화 Vol.6 No.3