有島武郞文學における勞動の表象

신지숙 한국일어일문학회 2002 日語日文學硏究 Vol.43 No.1

아리시마의 작품에 있어서 노동 그 자체가 어떻게 표상되어 있는지를 『태어나기 위한 고통』 『迷路』 『땅땅벌레』 『개인의 말예』를 중심으로 고찰했다. 『태어나기 위한 고통』에서는 어부의 노동에 관한 기모토의 인식이 유동적으로 전개되고 있음을, 즉 5장에서는 『목숨을 건 진실한 일』 『존귀함과 엄숙함을 갖고 있음』으로, 7장에서는 『비참하다』 『쓸데없는 고생』으로, 8장에서는 예술의 신성함과 비등하는 『진지함』을 갖는 일로 표상되어 있음을 밝혔다. 이어서 동시대의 다른 작가의 작품이나 언설과의 비교를 통해 기모토가 어부의 노동의 존귀성을 인정하고 그 노동을 감수하고 있는 어부의 생활에 일종의 미의식을 느끼고 있는 것은 상당히 특이한 것임을 검증했으며 그 배후에는 화자 『나』의 노동하지 않는 예술가로써의 가책에서 나온 기모토에 대한 찬가가 영향을 미치고 있음을 지적했다. 한편 미국을 배경으로 하는 『迷路』에서는 여름 수확기를 맞은 농장에서의 노동이 축제와 같이 표상되어 있음을 지적했으며, 주인공 A에게 있어서 노동은 지친 마음을 소생시켜 젊음의 힘을 바른 방향으로 발휘시켜 정신적으로나 신체적으로 강하게 단련하는 기능을 갖는 것으로 표상되어 있음을 밝히었다. 『땅땅벌레』에는 선박의 바닥에 들어가 하반신을 부패한 소금물에 적시며 망치소리만이 진동하는 칠흑 같은 암흑 속에서 녹을 망치질로 제거하는 노동의 현장이 생생히 묘사되어 있어, 노동이란 극한에 가까운 감각적, 신체적 고통을 강요하는 것으로서 표상되어 있다. 『가인의 말예』에서 노동은 이중의 의미로 기능하고 있다. 노동이 주인공 닝에몬에게는 자작농이라는 꿈을 이루기 위한 수단이라는 적극적인 의미가 있었는데 반해 화자는 저항할 수 없는 운명 등과 같은 것과의 투쟁이라는 상징적인 의미를 암시하고 있다. 하지만 후자에 있어서도 그것을 인간의 마땅한 모습으로서 그리고 있는 것은 확실하다. 이와 같이 아리시마의 작품 안에는 노동이 다양하게 표상되어 있으나 전체적으로 볼 때 노동의 의의를 중요시하여 표상하는 경향이 강하다고 할 수 있다. 『태어나기 위한 고통』 『迷路』 등에서 노동은 성실하고 진지한 삶의 방식으로 혹은 청년을 강하게 하는 것으로서 표상되어 있다. 단 아리시마가 노동의 이데올로기적 측면을 강조하는 것은 근, 현대의 유럽에서 유통된 『노동의 기쁨론』 『노동본질론』과 같이 『노동을 칭송함으로써 민중을 노동에 헌신시키』려 하는 공리적인 의도가 있었다고는 생각되지 않는다. 아리시마가 자연 속에서의 노동을 이상에 근접시켜 표상하고 노동의 의의를 전면에 내세우고 있는 데에는 톨스토이와 밀레의 영향이 크다고 생각된다.

[나만의 혼밥 레시피] 언제나 나를 위로해주는 나물

신지숙 메이데이 2018 Paper Vol.250 No.-

[마음 비우는 방법: 베이킹] 더 고된 노동이, 더 나은 삶을 안겨줬다

신지숙 메이데이 2021 Paper Vol.260 No.-

마음속 불안과 초조함을 밀어내준 코코넛스콘

신지숙 메이데이 2020 Paper Vol.258 No.-

Corporate Performance and CEO Turnover in Korea: A Comparative Analysis of Accounting and Market-based Performance Measures

신지숙,신범철,이해영 사람과세계경영학회 2016 Global Business and Finance Review Vol.21 No.1

This study empirically examines the influence of firm performance on CEO turnover using data of all listed companies on the Korea Stock Exchange, except those in the financial industry, over the period 2000-2012. We control for endogeneity of firm performance by employing the Two-Stage Residuals Inclusion (2SRI) methodology in estimating the random effect (RE) panel probit model and then compare the marginal effects of the two performance measures on the CEO turnover. The empirical results show that both the accounting- and the market-based performance measures are negatively associated with the CEO turnover probability. In non-Chaebol companies, both the performance measures are found to have a significantly negative impact on the CEO turnover, while the accounting-based performance measures have a larger effect than the market-based performance measures do. However, we found that neither of them has any significant impact on the CEO turnover in conglomerate Chaebol companies or their subsidiaries. These findings suggest that board of directors in Chaebol affiliations are relatively ineffective disciplinarians of the management turnover.

The Ethics of Embracing in Sarah Ruhl’s The Oldest Boy

신지숙 한국영미어문학회 2018 영미어문학 Vol.- No.128

This study explores the process by which Ruhl’s character, Mother, recognizes what true motherhood is, chooses right mothering, and accomplishes the ethics of embracing in The Oldest Boy. Mother, an American woman who has a three-year-old son, feels shattered at the realization that he is a reincarnated lama and she has to decide whether or not to let him go to India. However, Mother’s spiritual journey ends up with accepting the idea that the purpose of a lama’s returning to earth is to lead all people toward peace and salvation. She sacrifices her own happiness in pursuit of her child’s wellbeing and for the benefit of the world. Mothering, as Ruhl’s play suggests, is responses to the needs of the other. Ruhl’s main character becomes the bridge between different cultures and values as an active mother with agency, a student of a lama, and a translater. By presenting the concepts of karma and reincarnation, Ruhl helps us understand our current relationships and accept connections to others. Besides, by depicting the birth of a daughter after the son’s enthronement, Ruhl suggests the possibility of a new future opened by the ethics of motherhood. Ruhl’s stage is the place where human relationships are recreated and a new future is envisioned. Ruhl makes her audience recognize the power to create and nurture a life, and the potential to embrace the other through maternal, ethical practices.

The Aesthetics of Repetition in Sarah Ruhl's Stage Kiss

신지숙 한국영미어문학회 2019 영미어문학 Vol.- No.132

This study explores how theater becomes a site for the projection and simulation of our desires, which produces new potentials and realizations in Sarah Ruhl's Stage Kiss, a multi-layered play which has two plays-within-a-play. Ruhl's play deals with actors' lives and the creation of a play with motifs of passion, marriage, and commitment. Art and life imitate each other in the play and the line between fantasy and reality is blurred when the main characters, She and He, rehearse and perform a play-within-a-play which is a parallel to their past. However, reality doesn't implode or disappear. Rather, their simulation of assumed identities has the power to lead to all characters' maturization so that they can embrace their quotidian life with the aesthetics of repetition. As Gilles Deleuze argues that the power of art lies in repetition which has an internal power, Ruhl emphasizes the aesthetics of repetition which affirm new possibilities and meanings. By creating her theater as a site for audience to look into the relation of fantasy and reality, and relationship between self and other, Ruhl leads audience to think about the true meaning of love and marriage.

Being a Human Being in The Humans: Connection to Others

신지숙 한국영미어문학회 2017 영미어문학 Vol.- No.124

In The Humans, Stephen Karam uses the theme of family as a frame through which we may see humans in our age and examine the universal fears and hopes. In the course of Thanksgiving dinner, the Blake family reveal their anxieties and fears over financial problems, lost love, ill health, and unemployment. And the family’s underlying fears are manifested outward as uncanny noises and darkness. However, the characters respond to each revelation with compassion and show love and support all the time. The Blakes show they have much to be thankful for despite their plight. The tunnel in Erik’s nightmares suggests the abyss of human fears which Karam encourages us to confront. By making Erik able to exit the place, Karam shows Erik finally passes the tunnel and breaks a wrong Oedipus triangle so as to let his blocked energy flow. At the end of the play, Karam leaves the audience in complete darkness without anybody on the stage. This way Karam encourages the audience to confront the uncanny, fears in our life, and suggests that if we maintain our connections to others, we can transcend our fears.

『영미어문학』에 나타난 현대 영미드라마 연구의 동향과 비전

신지숙 한국영미어문학회 2020 영미어문학 Vol.- No.137

This study aims to analyze the trends in the research on modern British and American Drama which was published in Studies in British and American Language and Literature in the last sixty years, and find new visions for future studies in modern drama. By reviewing 153 articles published from the birth of BALLAK(The British and American Language and Literature Association of Korea), this study found that many scholars made significant contributions to the growth and development of studies in modern drama through this journal. As a result, the journal now has distinctive characteristics informed by articles that deal with numerous important playwrights and a wide range of topics including feminism, postcolonialism, disability, and minority discourse. Therefore, it is expected that this journal will serve as a useful repository of research and provide opportunities for many new researchers who will publish various articles with new approaches.

宮沢賢治「鹿踊りのはじまり」 -語りの構造と侵犯-

신지숙 한국일본언어문화학회 2022 일본언어문화 Vol.58 No.-

「The Beginning of Deer Dance」has two narrative levels: extradiegetic level and intradiegetic level . Starting with the question of why this narrative levels are adopted, this paper clarifies the narrative levels and the narrative invasions, and the common characteristics of narrative structure and content. This work unfolds in the order of extradiegetic level, intradiegetic level, extradiegetic level. However, the beginning “At that time” and the ending “after that” respond, and the common indicator “that” indicates when Kaju started walking westward. The ending event of extradiegetic level forms a circular structure that leads to opening event of extradiegetic level. Therefore, the time of this work goes from intradiegetic level to extradiegetic level(the ending), to extradiegetic level(the beginning) and the opening narrative of “I” is narrative of “I” when all the deer dancing experiences are over. In the intradiegetic level, Kaju’s assimilation into the spirit of deer dancing was brought about by verbal crossing of the border, but it ended without resonance. However, as the character in intradiegetic level crosses the border to the character in the extradiegetic level, the main character, Kaju, or “I” realizes that the spirit of deer dancing has been answered and resonated with Mother Nature. In this work, the theme of cross-border is used in both content and narrative structure and the last cross-border by the wind symbolize the resonance between nature and humans.