개인의 비극과 상처를 넘어: J. M. 쿳시의 『페테르부르크의 대가』에 나타난 고통의 시학

왕은철 한국영어영문학회 2020 영어 영문학 Vol.66 No.2

J. M. Coetzee’s The Master of Petersburg can be read as a long, sus�tained “work of mourning” in which the fictional Dostoevsky tries to come to terms with his stepson’s death. Similarly it can be read as Coetzee’s own effort to mourn his own son’s tragic death. What Dostoevsky goes though in the narrative is then somewhat similar to what Coetzee went through when his son died. The novel shows how Coetzee writes about himself in the fictionalized Dostoevsky. At the same time, Coetzee tries to go beyond his traumatic experience and extend the narrative to a point in which he could explore the political, cultural, spiritual condition of Dostoevsky’s Russia as well as of his native South Africa. This paper argues that Coetzee vacillates between a need to mourn his son and a need to go beyond his personal tragedy and strive for, to use T.S. Eliot’s phrase, “a continual extinction of personality.” In between lies Coetzee’s painful loss of his son. As such Coetzee writes himself in and out. The novel is a curious amalgam in which Coetzee both succeeds and fails to bury his own self beneath the superstructure of the narrative. The novel painfully testifies to what he means by saying that “All writing is storytelling, all writing is autobiography.” It is a poetics of pain and suffering that informs and permeates every aspect of Coetzee’s emotionally laden text. Pain writes itself into and out of the text.

재현의 윤리: 『비밀의 길』에 나타난 하위자

왕은철 한국영미문학교육학회 2018 영미문학교육 Vol.22 No.3

This paper examines how an indigenous boy named Chanie Wenjack is represented in Secret Path, a graphic novel jointly-written by Gord Downie, a white singer and Jeff Lemire, a white graphic novelist. It first discusses what Gayatri Spivak means by saying that “the subaltern cannot speak” and moves on to discuss the novel in detail. Two white authors attempt to represent an indigenous boy who runs away from the Cecilia Jeffrey Indian Residential School and dies on his way home. While acknowledging the limitations and pitfalls of representation of the subaltern by two authors, this study is to highlight the positive side of their representation: a willingness and courage to speak on behalf of the subaltern whose voice has been silenced. By speaking for the subaltern, they attempt to expose the collected crimes of Canada regarding the indigenous peoples, children in particular and suggest that white people really need to revisit the past when the white governments and the churches broke up families of first-nations, abused children and eventually erased the indigenous communities. Secret Path testifies that despite limitations it may have, the representation of the subaltern is not a choice but an ethical necessity. It is a humble, sincere and ethical gesture that saves the text from skepticism and cynicism regarding the representation of the subaltern.

식민지 시대의 지식인상을 통해서 본 민족주의 : 조정래의 『아리랑』론

왕은철 韓國批評文學會 2000 批評文學 Vol.- No.14

남아프리카 작가의 “저당잡힌” 상상력의 윤리적 책무 -도스또옙스키의 『악령』을 다시 쓴 J.M. 쿳시의 『페테르부르크의 대가』에 관하여

왕은철 한국영어영문학회 2003 영어 영문학 Vol.49 No.1

South African Writer's "Mortgaged" Imagination and Ethical Responsibility: A Study of Coetzee's The Master of Petersburg Re-Writing Dostoevsky's The PossessedChull Wang

하 진의 단편소설과 단순성의 미학

왕은철 한국영미문학교육학회 2006 영미문학교육 Vol.10 No.2

Ha Jin's Short Stories andtheir Aesthetics of Simplicity This paper is basically to introduce Chinese-American novelist Ha Jin who'has been almost unknown to Korean readers. Jin is praised as "a master" who "can translate history into literature." It is Chinese history that Jin translates, but human universals transcending Chinese context are his major concern, as shown in his remarks: "the ultimate goal for a piece of literature is to transcend time to some degree, not to vacate it but to go through it." But Jin's subject matter might, more often than not, turn off some readers, for there appear a lot of brutal scenes like beating, rape, castration, electric bath, etc. One has to bear in mind, though, that he never opts to exploit violence but only uses it in order to reveal what it means to be human. "Man to Be," one of Jin's best stories, illustrates what he tries to accomplish through brutal scenes, in which a man gets back his decency and humanity as he looks into the eyes of the woman he is about to rape. This paper is ultimately to highlight simplicity, depth, and beauty of Jin's spare, economic prose as well as his effortless command of English language that, as one critic notes, "most writers can only dream about." These characteristics make Jin's fictional works reader-friendly, without sacrificing artistic depth and quality. This paper also suggests that serious scholarly attention needs to be given to Jin's 'classical' works which have been critically acclaimed in other countries including the US and that teaching his works to Korean students can be highly rewarding.

타인의 상처, 타인의 트라우마

왕은철 한국정신건강사회복지학회 2015 한국정신건강사회복지학회 학술발표논문집 Vol.2015 No.05

타자의 재현, 그 윤리 — 백인에 의한 인디언 재현에 관하여

왕은철 미래영어영문학회 2019 미래영어영문학회 학술대회 자료집 Vol.2019 No.6

자크 데리다의 따뜻한 사유와 이론

왕은철 한국영미문학교육학회 2012 영미문학교육 Vol.16 No.2

타자 이해의 출발점으로서의 문학작품 활용: 히샴 마타르의 『남자들의 나라에서』를 중심으로

왕은철 한국영미문학교육학회 2009 영미문학교육 Vol.13 No.2

This paper is to suggest that because literature humanizes and makes familiar what otherwise would remain alien, reading literary works can be one of the viable, effective ways to understand the "other." In the Country of Men, the first novel by Hisham Matar, exiled Libyan British novelist, testifies it. Matar's novel gives us a rare glimpse of what it means for ordinary people to live in Libya which has been shut down from the rest of the world. Even though it has a lot to do with the dictatorship of Qaddafi and the political landscape of Libya, it is not a political novel but a Bildungsroman that deals with a story of growing up. It is a poignant story of a nine-year-old boy Suleiman who happens to get entangled in things he hardly understands such as his mother's dependency on the "medicine", his father's involvement in anti-government activity, and the forces that threaten his family to fall apart. The novel vividly depicts ordinary lives and the relationships between ordinary people. More than anything else, it is love that is at the heart of the novel, the love between the narrator and his mother who was forced to get married too early at the age of fourteen. By making the novel a kind of love story situated in political landscape of Tripoli, Matar's debut novel makes Libya a familar place for outside readers. The country becomes a place where ordinary people enact human drama. Libya and Libyans become so humanized to the point in which we feel they are no different from us. This paper is ultimately to suggest that reading Matar's novel can be a starting point for understanding the other(Libya, Libyans) as well as for overcoming our misconception, prejudice, and complicity regarding the other's negative image which has been artificially perpetuated by the West. By reading the novel and thereby opening our mind for the other, we may begin to hope that it would not be impossible to reach what Jacques Derrida calls "the law of absolute, unconditional, hyperbolical hospitality." This paper is to suggest that because literature humanizes and makes familiar what otherwise would remain alien, reading literary works can be one of the viable, effective ways to understand the "other." In the Country of Men, the first novel by Hisham Matar, exiled Libyan British novelist, testifies it. Matar's novel gives us a rare glimpse of what it means for ordinary people to live in Libya which has been shut down from the rest of the world. Even though it has a lot to do with the dictatorship of Qaddafi and the political landscape of Libya, it is not a political novel but a Bildungsroman that deals with a story of growing up. It is a poignant story of a nine-year-old boy Suleiman who happens to get entangled in things he hardly understands such as his mother's dependency on the "medicine", his father's involvement in anti-government activity, and the forces that threaten his family to fall apart. The novel vividly depicts ordinary lives and the relationships between ordinary people. More than anything else, it is love that is at the heart of the novel, the love between the narrator and his mother who was forced to get married too early at the age of fourteen. By making the novel a kind of love story situated in political landscape of Tripoli, Matar's debut novel makes Libya a familar place for outside readers. The country becomes a place where ordinary people enact human drama. Libya and Libyans become so humanized to the point in which we feel they are no different from us. This paper is ultimately to suggest that reading Matar's novel can be a starting point for understanding the other(Libya, Libyans) as well as for overcoming our misconception, prejudice, and complicity regarding the other's negative image which has been artificially perpetuated by the West. By reading the novel and thereby opening our mind for the other, we may begin to hope that it would not be impossible to reach what Jacques Derrida calls "the law of absolute, unconditional, hyperbolical hospitality."

2003년 노벨문학상 수상작가 존 쿳시 - 인간 존 쿳시와 그의 작품세계

왕은철,Wang, Eun-Cheol 대한출판문화협회 2003 출판저널 Vol.336 No.-