『그 지방의 관습』: 언딘 스프라그의 이름과 상품으로서 예술적 이미지

손영희 ( Younghee Son ) 한국근대영미소설학회 2021 근대 영미소설 Vol.28 No.3

This paper explores how the two origins of Undine Spragg’s name and artistic images are interrelated and influence men’s perceptions of her. Ralph Marvell paints Undine as a soulless water nymph, undine, and considers himself tasked with recreating her as his poetic muse and wife by filling her soul with his family traditions. Raymond De Chelles identifies Undine with the tapestry fixed in his castle gallery, hoping her to become the means of reproduction. Another origin of Undine’s name is the name of a hair waver on sale. Once Ralph and Raymond exchange their status for commodity capital by marrying Undine, they seek to erase traces of vulgarity from her and expect her to become a passive and self-sacrificing wife and mother. Since the American marriage custom is predicated upon the economic dependency of women on men, Undine divorces her husbands who fail to fulfill her material desires and seeks a new husband. Elmer Moffatt values Undine not only as one of the finest French works of art that he purchases for speculative purposes, but also as a trophy for his success. As opposed to Ralph and Raymond, Undine and Elmer are independent of prejudices and taboos and become symbols of consumer capitalism. Contrary to Ralph’s imagination, Undine is not a water fairy who depends on male love, but an independent siren who wants to control her own destiny.

르 파누의 『카밀라』에서 레즈비언 뱀파이어와 어머니의 귀환

손영희(Younghee Son) 19세기영어권문학회 2021 19세기 영어권 문학 Vol.25 No.1

In Joseph Sheridan Le Fanu’s Carmilla, Camilla overtly reveals homosexual desires unlike her vampiric counterparts in John Polidori’s The Vampyre and Bram Stoker’s Dracula. In Carmilla, three lesbian stories with similar characters and incidents are intricately entwined and the boundaries between each young lady and the vampire, past and present, and the dream and reality are constantly blurred. This enables the reader to interpret the lesbian vampire as the heroine’s double embodying her repressed homosexual desires and her absent mother. In this paper, referring to Sigmund Freud’s concept of the ‘Uncanny’ and Barbara Creed’s refutation of Freud’s theory, I argue that Camilla’s biting of Laura’s breasts with phallic teeth awakens her repressed homosexual desires and forces Laura to confront her absent mother thrown off in childbirth as the abject. Since Camilla’s vampirism threatens to forestall the patriarchal customs of the exchange of women as a gift given to men in marriage to reinforce male bonding and restore Laura to the matrilineal society, the alliance of authoritative men is established. Through the execution of Carmilla, the lesbian vampire-cum-mother is castrated and expelled. However, Laura is reborn as a vampire and threatens the law of patriarchy.

『이사벨라; 혹은, 바질 화분』과 라파엘전파 회화

손영희(Younghee Son) 한국영미문학교육학회 2013 영미문학교육 Vol.17 No.2

This essay explores the major themes of John Keats's Isabella; or, The Pot of Basil and cultural changes in Victorian era revealed in Pre-Raphaelite paintings, John Everett Millais's Lorenzo and Isabella and William Holman Hunt's Isabella and The Pot of Basil. John Ruskin's aesthetic democratization inspired the first-generation Pre- Raphaelite artists with the idea of social reform and moral edification of the masses through art. However, aesthetic democratization, censured by conservatives for lowering the standards of art, was controversial from the beginning since it wanted to dole out art to working class who lacked the leisure and means to enjoy it. The second generation Pre-Raphaelite artists turned away from aesthetic democratization and catered to the demands of affluent bourgeois clients. Pre-Raphaelite painters identified with and worshipped Keats who, they thought, sought to improve himself through self-education and craved for fame. The image of Keats as a defiant, precocious genius fighting for the autonomy of art was constructed from a series of Keats's biographies published in the Victorian era. While Keats's poetry embodies the spirit of Revolution, it is also rich in sensual imagery with frequent allusions to Greek mythology and medieval literature, which is one reason why the second generation Pre-Raphaelites preferred Keats's poetry to Wordsworth's for their subject matters. Keats's Isabella; or, The Pot of Basil, based on the story from Giovanni Boccaccio's Decameron, is not limited to the convention of romance genre as it encompasses the themes of class conflicts, greedy capitalists, and British middle-class women confined at home. Despite the fact that Isabella; or, The Pot of Basil was not positively received because of its alleged mawkishness, it was one of the most popular poems among Pre-Raphaelites along with The Eve of St. Agnes. The first generation Pre-Raphaelites who advocated aesthetic democratization focused on class conflicts, attacking avaricious industrialists. Millais's Lorenzo and Isabella, which underscored the conflicts between Lorenzo and Isabella's brothers, is representative of the period. The second generation Pre-Raphaelites were more interested in Isabella's grotesque love for Lorenzo, whose head is buried in the pot of basil. Keats emphasized Isabella's abnormal psychology after her sexual desire and maternity are frustrated. However, most of the second generation Pre-Raphaelite paintings, including Hunt's Isabella and The Pot of Basil, ignored Keats's intention and portrayed Isabella as a luxurious decoration for bourgeois home, thereby making her the object of sexual desire for bourgeois male clients.

여성 예술가와 남성 화가의 뮤즈로서 엘리자베스 시덜

손영희(Younghee Son) 19세기영어권문학회 2013 19세기 영어권 문학 Vol.17 No.1

Elizabeth Siddall was the model for most of Dante Gabriel Rossetti"s paintings in the early and mid-1850s.After Siddall was unable to sit for Rossetti due to her illness, he began to draw voluptuous women with long blond hair, bare shoulder, and angular chin in the elaborately decorated background. Not only Siddall but also sensual models were signifiers showing Rossetti"s genius. Rossetti is always the signified and the origin of meaning. Siddall is a sign for pure virgin whereas the later voluptuous models are signs for tainted fallen women. Rossetti high lights the model"s beautiful face and voluptuous body even when he portrays female artists. In Veronica Veronese, he captures the soul of a composer at the mysterious moment of creation. Listening to the bird with her hand laid on the strings of the violin, Lady Veronica tries to find out the perfect note for the inspiration that has just struck her. However, in Rossetti"s painting, Veronica, the composer, is seen as the erotic object of the male gaze since her beautiful face occupies most of the canvas and the paper on which she composes music is thrust aside in the corner. As Rossetti’s muse Siddall is always idealized in his drawings. What Rossetti drew was the imagined face of Beatrice, Dante Alighieri’s muse, not the face of Siddall herself, as he fancied that he himself was Dante. In Rossetti’s drawings of Siddall at the moment of artistic creation, she is the object of male gaze since Rossetti focuses on her face and figure. Unlike Rossetti’s portraits of Siddall, she depicted herself as a weary and unbeautiful woman with coarse complexion. Her self-portrait indicates that Siddall’s idealized image in the paintings of Rossetti and other Pre-Raphaelte artists is the production of male artists’ imagination. Siddall tried to liberate herself from Rossetti’s imagination and create her own artistic world. In her poems, the heroine laments the loss of lover with her fading beauty and the impossibility of true love. Siddall knew that she was the signifier for male artists. Using the strategy of silence and feigned death of the female narrator in her poems, Siddall defies the Western art convention which exploits the face of beautiful women in the name of muse for male artists. Her artistic creations serve to prove that she was a creative artist on her own right.

호세 안토니오 비야레알의 『포초』: 이방인에서 트랜스내셔널 주체로의 실험적 실천

손영희(Son, Younghee) 미래영어영문학회 2022 영어영문학 Vol.27 No.2

José Antonio Villareal"s Pocho is regarded as the first modern Chicano novel which reflects the author"s autobiographical experience as a Mexican-American second generation. Pocho describes the life of Juan Rubio, a Mexican migrant worker who settled in Santa Clara, California, and focuses on the identity problem of his son, 9-year-old Richard Rubio. It deals with the issues of bilingualism, biculturalism, and dual identity that Richard Rubio faces in the racialized society because he is a stranger, neither American nor Mexican. In fact, Villareal has been criticized severely by many Chicano critics for being too assimilated in American society. However, Pocho can suggest a new reading in the transnational era where the boundaries of nations, ethnics, and races are blurred. This paper attempts to explore Richard"s struggle to find his own identity as a transnational subject, not a stranger who dose not belong to either of them, in that he resists the dichotomous violence between Americanness and Mexicanness. It examines the meaning of Chicano Spanish with regard to the creation of his transnational identity. In addition, it seeks to understand the lives of Chicano migrants, who are excluded from American history and monolingualism, with a more balanced transnational literacy.

『허영의 시장』에서 타자로서 프랑스성

손영희(Younghee Son) 19세기영어권문학회 2014 19세기 영어권 문학 Vol.18 No.2

Thackeray reiterates the British literary conventions that contrast artless Britishness with artificial Frenchness and attribute hypocrisy, duplicity, and sexual degradation to the Other, so Becky is constantly identified with the deceptiveness of France. As a symbol of Napoleon`s propaganda that a career should be open to all talents regardless of birth, Becky struggles to climb the social ladder by means of her superb artistic talents, threatening the established British social hierarchy. However, at the height of success she tumbles down the ladder due to the dishonest nature of her artistic talents, which are presented as something characteristically French that should be ostracized from the British gentility. Amelia`s letters representing British sentimental novels can not attract George nor the reader`s attention, and thus are left out of the novel. Amelia realizes the truth about George and secures Dobbin only with the help of Becky`s supreme stroke of artistic skill. Since Amelia is revealed to be a destructive, yet tender parasite that throttles Dobbin, the moral integrity of Britishness constructed of her artlessness becomes shaky. George`s letter to Mr, Osborne written just before the battle of Waterloo also problematizes Thackeray`s insistent effort to define Britishness through discrediting Frenchness as deception. The great red seal with the sham coat of arms that Mr. Osborne stole from a ducal family is robbed from George`s dead body. Thackeray`s revelation of the double robbery is intended to mock the patriotic rhetoric that glorifies George as a hero and to expose the deceptive nature of the simplicity and honesty of Britishness of which Mr. Osborne boasts. Though Thackeray criticizes Becky`s writings for taking advantage of art for commercial profits, he must acknowledge that he is also dependent on the Victorian publication, where novels were produced as though in factory assembly-lines for profit. The ultimate enlightenment comes with the awareness that the idea of Britishness has become unstable during the mid-Victorian period with the influx of alien cultures into Britiain, which continually interacted with Europe and Colonies.

『그 지방의 관습』에서 ‘진짜’와 예술과 몸의 상품화

손영희 ( Younghee Son ) 한국현대영미소설학회 2018 현대영미소설 Vol.25 No.2

In Edith Wharton’s The Custom of the Country, the aboriginal New York High Society and French aristocracy are being invaded by the nouveau-riche capitalists. The Aborigines value their possessions associated with their family tradition as ‘authentic’ heirlooms that are not fungible. On the other hand, the Invaders can not build a strong bond with their possessions and regard them as fungible commodities. The Invaders’ purchase of the Aborigines’ heirlooms and works of art is the acquisition of status symbol as well as an act of speculation that inflates the monetary value of art commodities. By marrying Undine Spragg, an invading nouveau riche, Ralph Marvell and Raymond de Chelles seek to preserve their ‘authentic’ heirlooms and works of art. However, Undine subjects them to the market as fungible commodities. Undine’s insatiable and ceaseless pursuit of ‘the best’ makes her an equivalent for greedy capitalism. As a ruthless capitalist, Undine trades herself and her son as a commodity to get ‘the best’ she wants. At the same time, she effectively demolishes obsolete structure of Aborigines’ taboos, rites, sanctions, and fossilized tradition that constitutes their authenticity, exposes their snobbishness and hypocrisy, and accelerates their extinction triggered by their failure to adjust to the capitalist economy.

리사 시의 『해녀들의 섬』에 나타나는 제주 4·3과 해녀들의 실존

손영희(Son, Younghee) 새한영어영문학회 2021 새한영어영문학 Vol.63 No.4

The Island of Sea Women(2019) by Lisa See, a Chinese-American author, vividly portrays the violence and wounds of the Jeju 4·3 incident through the friendship of two protagonists, Young-sook and Mi-ja who are female divers called haenyeo. The history and culture of haenyeo community in Jeju are depicted specifically in this novel. This paper argues the national violence of the Jeju 4·3 incident and its trauma and explores the possibility of reconciliation and coexistence. And also it will draw on ecofeminism theory to examine the lifestyles of haenyeo. The purpose of this paper is to understand the historical truth and scars of Jeju in See’s The Island of Sea Women and to cast light on the message of understanding and forgiveness she has focused on in her novel.

『뱀파이어』와 『드라큘라』에서 성적 금지와 부르주아 성인에의 입문

손영희 ( Younghee Son ) 한국근대영미소설학회 2019 근대 영미소설 Vol.26 No.1

In Polidori’s The Vampyre and Stoker’s Dracula, aristocratic vampires have a close relationship with bourgeois men, but they vamp the women closely related to them, not the men themselves. Since these women act as substitutes for the bourgeois men, vampirism represents an indirect sexual attack against the men under the disguise of heterosexual desires which displace their homosexual desires. In both works, the vampires liberate repressed sexual desires, bringing about the potential disintegration of the bourgeois dichotomy of gender and sexuality. In The Vampyre, Aubrey keeps his vow not to disclose Ruthven’s secret, which actually turns out to be his own secret of homosexual desires. In consequence, he is destroyed and fails to initiate into the bourgeois manhood. In Dracula, however, Mina breaks her vow not to read Harker’s journals and learns of his deviant sexuality, thereby inviting Dracula. The crisis of her awakening to the repressed sexual desires triggers vampire hunters’ frantic pursuit of Dracula. With the destruction of Dracula, the bourgeois gender and sexual norms seem to be restored and reaffirmed. However, Mina becomes marginalized and inarticulate while Harker proves his masculinity, initiates into manhood as a successful lawyer, and becomes a disciplined modern bourgeois subject that can control his own sexual desires. As Quincey Harker was fathered by Dracula as well as by Lucy’s three suitors, Van Helsing, and Harker, Dracula is resurrected through the boy and once again threatens to wipe out the bourgeois dichotomy of gender and sexuality.