A Study of the First Person Narratives by American Women on The Vietnam War

박진임 ( Jin Im Park ) 한국영미문화학회 2006 영미문화 Vol.6 No.3

발표장 : 물 재생기술 진화하는 BNR공정 : 초청강연 Lad -scale MLE 공정의 황 함유 폐가성소다 주입에 의한 독립영양탈질 특성

박소라 ( So Ra Park ),박정진 ( Jeung Jin Park ),주동진 ( Dong Jin Ju ),변임규 ( Im Gyu Byun ),박태주 ( Tae Joo Park ) 한국물환경학회 2008 한국물환경학회·대한상하수도학회 공동 춘계학술발표회 Vol.2008 No.-

한국소설에 나타난 베트남 전쟁의 특성과 참전 한국군의 정체성

박진임(Park Jin-Im) 한국현대문학회 2003 한국현대문학연구 Vol.0 No.14

미국 여성 작가의 베트남 전쟁 소설에 나타난 죽음의 문제 : 메이슨, 필립스, 디디언을 중심으로

박진임(Jin im Park) 한국아메리카학회 2015 美國學論集 Vol.47 No.3

This paper examines the ways deaths of American soldiers in the Vietnam War are represented in novels written by women writers. Examining Jayne Anne Phillip's Machine Dreams, Bobbie Ann Mason's In Country, and Joan Didion's Democracy, this paper delineates the ways American soldiers and their family members perceived and remembered the war. By doing so, this paper questions Heoin-ik Kwon's ways of understanding the role of the United States in world politics and of American lives during the Cold War era. I argue that Kwon needs to separate official discourses of the United States on the ideology of the Cold War from personal experiences and perspectives of common Americans. Whereas the United States might have enjoyed a certainly privileged position in world politics after the World War Two, its people express that they had been victimized by the policies of the government, especially when they maintained anti-war positions during the war era. Novels by American writers unequivocally speak to the sense of loss, post- traumatic stress disorder as well as sentiment of betrayal both the soldiers at war and their family members experienced during the war. Although largely agreeing with Kwon's notion that the rest of the world than the United States experienced mass-killings of civilians, which indeed reaffirms the United States' place in the world as an exceptional and hegemonic power generator, it is hard to consent that the American armed soldiers' deaths were heroic. Kwon, based on the above rationale, argues that the immolations on the ends of the United States deserve less worth of commemoration and consolation. However, to those who are bereft of the family members in the war, their deaths are rarely remembered as heroic. On the contrary, their deaths are described as regrettable and meaningless. American casualties of the war equally turn into objects of sympathetic commemoration as deaths in other parts of the world do.

포스트콜로니얼리즘과 여성 - 안수길의 <새벽>, <북간도>, <원각촌>을 중심으로 -

박진임(Park Jin-im) 한국현대문학회 2005 한국현대문학연구 Vol.0 No.17

While Postcolonialism provided useful discourses to analyze and understand the experiences of marginal beings such as the colonized, women, and other minority people who had rare opportunity to express their views, concerns and aspirations, Postcolonialism was criticized by feminists because it allowed little space for female subjectivity. The notion of nation, which plays the most crucial roles in Colonialism, is by and large constructed by and based upon male subjectivity and men's exclusive experiences with the consequence that women's experiences should be represented with the aid of male agent or they should be silenced under the premise that male voices can fully represent entire 'human' voices.<br/> Some Feminist critics such as Ann McClintock and Gayatri Spivak criticise that Postcolonialism does little good to the liberation of women as far as the notion of nation fails in incorporating the specificity of women's experiences. As evidenced by some women writers' texts, women rarely benefited from the fruits of nation-building while 'nation' played an important role in establishing male identity.<br/> Among Korean Ahn Su-Kil's texts, I examined three where I regarded women characters display the scenes where nation functions against their pursuit of liberty and blocked their quests for self. One woman character was traded by their father and her body was treated as a commodity only to be ruined by opium in the end. Another became the object of surveillance and control by the one who purchased her. The only way for a woman to resist such a trade was to commit a suicide.<br/> Rather than limiting interpretation ofthe trade of these female bodies as a cultural and historical particulaity, I interprete the three female characters' lives as allegories of nation that are roughly equivalent to colonialism, postcolonialism, and neo colonialism/ imperialism. In doing so, I recuperate the erased space of colonized women in the representations of the colonized in Korean context. In addition, by addressing the specificity of colonized women I attempt to reconsider the notion of nation from the perspective of 'gender.'

운초 박재두의 시조관과 시조 세계 연구

박진임(Park Jin-im) 한국현대문학회 2004 한국현대문학연구 Vol.0 No.15

국경넘기와 이주의 시학

박진임(Park Jin-Im) 한국현대문학회 2002 한국현대문학연구 Vol.0 No.11

일반논문 : 베트남전의 기억과 그 기억에의 저항: 바비 앤 메이슨의 『베트남에서(In Country)』 연구

박진임 ( Jin Im Park ) 한국비교문학회 2012 比較文學 Vol.57 No.-

This paper analyzes In Country by Bobbie Ann Mason in order to illuminate the complex relationships between gender and the Vietnam War, the generational conflicts between the Vietnam War generation and post-Vietnam War generation, and the changes in the perception and evaluation of the war. As Susan Jeffords argued in Remasculinization of America, gender played a pivotal role in the Vietnam War. According to Jeffords, the war was a reflection of the US foreign policies aimed to remasculinize the US and the war was operated in gendered terms. While the majority of the Vietnam War narratives were written, reviewed, and read by men, thereby generating "in-house discourse" as one critic puts it, In Country, among some novels on the Vietnam War by women writers, directly deals with the ways a female protagonist learns, un-learns and remembers the Vietnam War. In In Country, the protagonist is portrayed to be born during the Vietnam war and her father died in the war. At the coming of age, the protagonist Sam sets out on a trip to Washington D.C. to be at the war memorial as an attempt to understand her late father. Via diverse episodes remembered by Vietnam War veterans and the protagonist along with representations of popular culture genres such as pop-songs and television programs, a large portion of which are remains or re-makings of the products of 1960s and 70s, the protagonist endeavors to comprehend the Vietnam War in her own way. The way the protagonist understands the war often betrays, resists and contends much advertised and repeated public discourses of the war, which can be summarized as ``advocation of the freedom and democracy in South-East Asia.`` Marginal and minor voices of the socio-politically suppressed, including those of ``whining`` veterans and social outcasts, contribute to resisting the sanctioned public discourses the US government continued to reproduce. The protagonist realizes that the public dicourse tells her little about the reality of Vietnam such as people`s daily lives in Vietnam, the shape and color of its terrain, indigenous crops and birds in Vietnam. As much as the nature of the war she finds out contradicts the public discourses, the image of her late father she comes across becomes a sullied one. Contrary to the conventional image of a father, who often is the object of one`s respect, Sam`s father turns out to be an un-educated racist with little knowledge on the nature of the war. The protagonist represents the post Vietnam War generation, who attempts to properly remember the war, to overcome the wrongs of the past, and to envision a better future by learning lessons from the past.

피터 바쵸의 『세부』에 나타난 혼종적 주체, 젠더, 민족성

박진임 ( Jin Im Park ) 미국소설학회 2009 미국소설 Vol.16 No.2

`Asian-American literature` addresses literature by a group of people who have their ethnic heritage in Asian countries and the Pacific rim. However, the notion of `Asian- Americans` betrays the specificity and diversity of each ethnic group within. To examine figures of immigrants and second generation ethnic minorities in the US through literary representation plays a significant role in locating the unity and diversity of Asian- Americans. For such a purpose as to locating the specificity of each ethnic group within the Asian Americans, this paper examines Cebu by Peter Bacho in terms of hybid identity, gender and ethmcity. The image of the US as a new home in Filippino American literature is not a unified and fixed one but has been on constant shift. While Carlos Bulosan represents the Phillippines as an idyllic place in spite of its extreme poverty and the US as a hostile, yet promising space for individuals to realize their dreams in, Peter Bacho presents the US as a place where reason, order, and stability rule. This idealization of the US simultaneously contributes to representing the Phillippines as a space where corruption, superstition, and all other forms of cultural savagery takes place. The protagonist`s round trip from the US to the Philippines functions as a bridge between the two cultures. Since his trip was caused by his mother`s death, it connects Philippines` past characterized by colonialism, loss of female subjectivity, and virtually enforced marriage of a powerless colonized girl his mother experienced and the US as a space of its afterwards. The protagonist`s position as a Catholic priest makes him an agent between the sacred and the propane. His hybrid identity as an Asian-American also enables him to bridge the cultures of the US and the Phillippines. In the Philippines, he experiences loss of self-discipline, destruction of his beliefs and promise to God, and cultural confusion. However, he also comes to cast a refreshed look on himself and the world he used to belong to due to his encounter nith the Filipino specificity epitomized by such characters as Clara and Ellen. By representing all incongruous and conflicting cultural elements between the Philippines and the US, between Americanized Filipinos and FOBS, and between the colonized and postcolonial Philippines, Peter Bacho delineates the complex situations of Filipino Americans as well as the past, present, and possibly future of their lives.

' 욕망 ' 과 ' 권력 ' 의 등을 높여 올려라 : 장예모의 < 홍등 > 연구

박진임(Jin Im Park) 문학과영상학회 2001 문학과영상 Vol.2 No.1

중국의 제 5세대 영화인에 속하는 장예모 감독의 작품들은 영화에 사용된 강렬한 색채만큼이나 강렬한 전언과 시적 함축을 지니고 있다. <홍등> 또한 그러하다. 일찍이 프레데릭 제임슨은 제3세계 문학은 필수적으로 국가의 알레고리라고 주장한 바 있는데, 이 영화는 그의 주장을 증명하듯 국가와 국민들의 삶의 알레고리로 흔히 해석된다. 본고는 이 영화가 단순히 국가의 알레고리로 읽히기에는 훨씬 더 함축적이고 은유적임을 주장한다. 그리하여, 주체(subjectivity)와 공간(space)개념을 통하여 이 영화 텍스트를 분석한다. 즉, 첸가를 구성하는 네 명의 처첩들이 자신들의 주체성을 어떻게 확립하고 주장하는지, 그리고 그들이 처하는 장소(place)가 어떤 식으로 이 주체의 성립과 함께 의미있는 공간(space)으로 변화하는지 살핀다. 그랬을 때, 이 주체와 공간은 곧 권력(power)과 욕망(desire),그리고 성(sexuality)과 밀접한 관계 속에 놓이게 됨을 주장한다. 그리고 그 가장 중심에 놓이는 홍등의 의미를 규명한다. 즉, 홍등은 권력과 욕망의 대상이자 주체와 공간을 형성시키는 매개물임을 보이는 것이다. 구체적으로 말하자면, 홍등을 내다 거는 첸가의 의식이 푸코가 명명한 바대로 개인적 차원의 미세 권력을 개인에게 부과시키는 권력의 테크놀로지로 작용하는 것을 살핀다. 그리고 발 맛사지 등의 또 다른 의식이 육체를 길들여 유순한 몸으로 재탄생하게 되는 것을 보인다. 그리고, 네 명의 처첩들은 각각 데카르트적인 육체와 영혼의 분리, 전형적인 여성성의 실현, 남아 생산에 따른 권력 등 다양한 방식을 통하여 자신들의 주체성을 실현시키고 자신들의 공간을 지켜나감을 보인다.