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매리 린 브락트의 『하얀 국화』에 나타난 공감적 상상력과 타자 윤리
손영희 새한영어영문학회 2022 새한영어영문학 Vol.64 No.3
Mary Lynn Bracht’s White Chrysanthemum is her debut novel that focuses on the female victims of Japan’s wartime sexual slavery and national violence of the Jeju 4·3 incident. Bracht criticizes that most war narratives are male-oriented stories without women’s memories and voices about war. She strives to break the silence on the plight of Korean comfort women, bring back their memories, and fill the hole in the war narratives through two female protagonists in the novel. Therefore, this paper aims to examine how the lives of female victims in the novel are erased and forgotten from the relationship between war and women’s bodies, seek ways to restore their lives, and heal the wounds through face-to-face discourse. In addition, it analyzes the cause of self-centered violence that ignores the suffering others as a problem of empathy and attempts to postulate face-to-face conversations as a prerequisite for ethical empathy.
손영희 19세기영어권문학회 2022 19세기 영어권 문학 Vol.26 No.2
In Edith Wharton’s The House of Mirth, Lawrence Selden notices Lily Bart’s immobile body on three occasions and imagines that she is a disembodied aesthetic object. However, in the performance of tableaux vivants, most of the audience believe that Lily displays herself as a human merchandise to be exchanged for men’s wealth in accordance with the marriage customs of the high society. Selden’s envisioning of Lily as the ideal of the republic of the spirit is influenced by the contemporary art, particularly the Pre-Raphaelite painters who often idealized dying or unmoving women as spiritual beings. Lily struggles between her need to marry a wealthy man and her distaste for the snobbish marriage custom. While Selden wants Lily to break away from the high society, he ignores her financial troubles and distances himself from her when she is embroiled in scandals. Lily’s death is part of the conventions of art and literature that require fallen women to pay the price through death as a prerequisite for their purgation. Only when Lily becomes a tableau mort is Selden able to reconcile himself with her. However, Selden remains ignorant of the sacrifices she has made to defend his honor. For the tableau vivant, Lily chooses the portrait of Mrs. Joanna Lloyd by Joshua Reynolds. Contrary to Selden’s imagination, Lily stands proud and full of vitality in the tableau vivant and refuses to become a human merchandise traded in marriage as well as an aesthetic object idealized for Selden’s republic of the spirit.
「뮤즈의 비극」과 『그 지방의 관습』에서 낭만적 뮤즈와 문학 생산
손영희 한국중앙영어영문학회 2023 영어영문학연구 Vol.65 No.1
In “The Muse’s Tragedy” and The Custom of the Country, Edith Wharton questions the literary production in which male poets/artists seek inspiration from their female muses, believing that their fount of creativity would not run dry as long as the fantasy about the muses lasts. In “The Muse’s Tragedy,” Vincent Rendle’s poetry is inspired by Mary Anerton and their relationship is likely to be repeated between her and Lewis Danyers. However, when she becomes aware that she was deprived of her own identity by Rendle, she refuses to be Danyers’s muse and chooses to be the author of the third part of this short story. By adding asterisks to Rendle’s letters, she also demonstrates that she is the origin of meaning. In The Custom of the Country, Ralph Marvell wishes to write poems inspired by Undine Spragg. However, Undine is not a passive muse that can be transformed by a poet to fill his dream. In the literary production in which a female muse is the source of inspiration for a male artist, she is a signifier for his creativity and an object rather than the subject of her desire. Wharton argues that the idea of a Romantic muse along with its production of classical literature is anachronistic because it neither satisfies the aspirations of the New Woman nor meets the needs of the modern-day patrons of art and literature.
리처드 로드리게스의 『브라운』에 나타난 ‘미국의 갈색화’와 혼종성
손영희 동국대학교 영어권문화연구소 2022 영어권문화연구 Vol.15 No.3
Richard Rodriguez is a Mexican-American writer who refuses to be classified as a Chicano writer. Instead, he prefers to be called a Hispanic author because, in his opinion, the absurdity that the label entails captures his place in American literature. In his autobiographical trilogy, Rodriguez reveals a conversion from being assimilated into mainstream American society to exploring his Mexican roots and embracing so-called mestizo Mexicanness. Rodriguez's Brown visualizes the growing Hispanic/Latino population in the United States through the metaphor of brown, which means impurity, resists a fixed categorization and asserts a flexible identity to imagine oneself free. This paper historically examines the origin of Hispanic and Latino terms in American society and critically analyzes Rodriguez's contradictory attitude towards minority issues such as affirmative action and bilingual education. Additionally, it explores the meaning of “America is Browning” in the context of racial, linguistic, and cultural hybridity rather than in terms of a demographic statistic. It ultimately attempts to present new ideas of harmony and coexistence through brown discourse.