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『여인의 초상』에서 인식의 문제 ―관찰 경험에서 현실 경험으로
문영희 ( Younghee Mun ) 21세기영어영문학회 2018 영어영문학21 Vol.31 No.3
This study analyzes the way in which Isabel Archer, initially a romantic idealist, faces and then willfully decides to embrace the painful experience of actual reality. While she is eager to “see” life for herself, she wants to escape from the obligation and burden of ideals. Inevitably, she lacks a sense of reality until her zeal for ideals is tested by the crucible of her matrimony. Isabel goes through two different phases of experience before and after her marriage to Osmand. While staying in Europe, she first imagines, then observes, and finally lives the life of a young lady with an inherited fortune. This experience transforms Isabel’s vision of life from a romantic idealist’s to that of a moral fundamentalist. At the beginning she yearned for freedom and independence, but in the end she accepts her moral obligation, responsibility, and life of oppression. In a sense, such a change in her vision and attitude can be interpreted as a case of so-called “felix culpa,” meaning “fortunate fall.” Isabel's marriage to Osmond might be seen as a channel to her maturity. In sum, the whole process of Isabel's experience represented by her will to see the world, her marriage to Osmond, and then her reflection on her married life in the scene of “night vigil” enables her to have a perceptive growth.
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케이트 그렌빌의 사죄를 위한 반기억 서사―『중위』와 『비밀의 강』에 재현된 공모의 문제를 중심으로
문영희 ( Younghee Mun ) 21세기영어영문학회 2020 영어영문학21 Vol.33 No.1
This study explores counter-memory narratives for apology in Kate Grenville’s The Lieutenant and The Secret River. The author deals with the perpetrator’s perspective and dissolves Australian national identity as a settler nation revealing the dark side of history. If ‘memory’ in the criticism of post-colonialism consolidates the identity of individuals or communities, the ‘counter-memory’ narratives in the novels may render them to be taken aback. The Secret River tells the story of a convict settler who was complicit with violence against his good nature. The Lieutenant is set at the very beginning of the penal colony in New South Wales in 1788. A British officer was unwillingly involved in an expedition to kill Aborigines. Even though it resulted in failure, he recognizes the fact that he had conspired in the business of colonization: “if you were part of that machine, you were part of its evil.” Eventually he decides to leave the expedition and not to obey orders. The novel aims to acknowledge responsibility and contemplate the shame of the guilty and the complicit.
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문영희 ( Younghee Mun ) 21세기영어영문학회 2016 영어영문학21 Vol.29 No.1
This paper examines the pragmatic experiences and conversion of perception in The Ambassadors. The hero, Lambert Strether, who is engaged to Mrs. Newsome, comes to Paris as an ambassador to take her son Chad Newsome home. The dilemma comes from the fact that Strether, as a man of sensibility, is burdened with Puritan dogmas. However, his moral sense does not remain inflexible and unchanged. It undergoes considerable change as he meets with new experiences in Paris. His inner experience demonstrates a great swing from a public to a private conscience, from a fixed code of conduct to a flexible code of conduct. Strether never stops re-describing experiences by judging each event through his own metaphors.`` In particular, the process by which he continuously reconstructs the meanings of the experiences through his moral imagination represents the epitome of the pragmatic attitude. Strether finds himself on the point of losing everything at the end of the novel, and he decides to return to Woollett “to be right.” His decision is pragmatic conversion that overcomes society``s values and finally leads him to perceptive freedom.
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헨리 제임스의 『미국인』: 뉴먼의 자기확신과 인식적 한계
문영희 ( Younghee Mun ) 미국소설학회 2016 미국소설 Vol.23 No.1
This paper aims to examine the way that American businessman Christopher Newman experiences and interprets European culture and people with his own confined perspectives in The American. The hero cannot be acknowledged and accepted by the aristocratic Bellegardes, not only because the family judges Newman by his social status but also because he has a lack of manners and a weak grasp of the complexity of deeper human values. Above all, Newman is throughly limited by his commercialistic assumptions and self-assurance based on his strong confidence in the power of his wealth. In addition, he does not react to the new cultural environment flexibly, and he holds fast to the optimistic belief that the world is for his taking and tries to apply a ‘black and white`` moral principle by force. As a result, his self-reflection and the possibility of the perceptive growth are confined, and his experiences do not give an impetus to the active development of perception. Furthermore, the main causes of Newman``s perceptive failure also come from deficiencies of moral imagination and sensibility.
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타란티노의 <바스터즈> : 전쟁영화의 메타시네마적 재현
문영희(Younghee Mun) 한국아메리카학회 2021 美國學論集 Vol.53 No.3
This paper analyzes Quentin Tarantino s film Inglourious Basterds as metacinema. The film originated from the director s idea of revenge against Hitler on behalf of his Jewish friends. The plot essentially depicts ridiculous special forces assassinating Hitler and Nazi leaders. Tarantino draws attention not to the history of WW2 but to the making of war films and their discourse in the Hollywood film industry. Inglourious Basterds as metacinema not only arms the film with genre consciousness, but also partakes of and critiques old Hollywood’s genre conventions. Tarantino questions the old war film formulas of cinematic narratives that are subjugated to the illusion of history and representation of reality. Instead, in this film, he breaks the fixed framework of the genre, planting playful cinematic imagination into the representation of history, where political power and ideology have traditionally been used. For instance, the film deliberately employs languages that have long been excluded from realistic representation in Hollywood war movies as a suspenseful device. Moreover, the “film within a film” Nation’s Pride, which uses a similar visual style to Hollywood war films, reveals the genre’s close relationship with Nazi propaganda aesthetics. Thus, the iconic Operation Kino scene in Inglourious Basterds, the explosion in the theater, could be seen, by extension, as signaling an end to Hollywood s conventional war films and blazing a new trail.
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