새로운 사회의 탐색과 한계: 『블라이드데일 로맨스』를 중심으로

정혜옥 ( Hae Ok Chung ) 미국소설학회(구-한국호손과 미국소설학회) 2005 미국소설 Vol.12 No.2

19세기 미국 사회의 한계: 멜빌(Herman Melville)의 「서기, 바틀비」(Bartleby, The Scribner)와 「베니토 세리노(Benito Cereno)」를 중심으로

정혜옥 ( Hae-ok Chung ) 덕성여자대학교 인문과학연구소 1996 인문과학연구 Vol.3 No.-

This article concerns Melville's severe but honest criticism on the maretrialistic and self-celebrating society of nineteenth-century America in the two tales, "Bartleby, the Scribner" and "Benito Cereno." In these two tales the writer demonstrates the conflicts between the narrators, 'the representative Americans' versus their chief characters about whom the narrators have presented to us. Although the the lawyer and Amasa Delano believe they are writing a tale about the character they have experienced, they can tell us little about Bartleby and Benito Cereno, yet they unwittingley reveal about themselves. The two narrators gropes toward an understanding of dark ironies that their cheery American optimsm has denied. Melvilles intends the more honest of his Americn readers to recognize that their own innocence shades into credulity, and that their own Christian benevalence is blinding them to human contradictions and limitations in a American consciousness.

집과 여성: 이디스 워튼의 『연락의 집』을 중심으로

정혜옥 ( Hae Ok Chung ) 미국소설학회(구 한국호손학회) 2010 미국소설 Vol.17 No.3

This article aims to demonstrate Lily Bart`s efforts to find her own house, where she can find a "grave and endearing tradition and the real relation to life." Edith Wharton probably was able to more realistically recognize what a house meant to people because she had her own experience of building her mansion, the Mount and publishing The Decoration of Houses. She tries to define the identity of a woman with the concrete metaphor of a domestic house. Lily, standing between a sentimental traditional heroin and a modern independent woman, tries to establish her own identity through the efforts of finding `her own room,` but she fails to achieve independence because she was "raised to be ornamental." Lily moves through different houses in the novel. On one end of the spectrum there is Mrs. Peniston`s house, a home of past, and at the other end, there is Norma Hatch`s showy and trendy hotel. In between these two extremes, there are also the theatrical mansions of the leisure class, the cozy apartment of Lawrence Seldon, as well as the nostalgic romanticized working-class tenement of Nettie Struther. Lily seems to feel most at home in the mansions of her `old set,` but these mansions can never provide the home she eventually comes to yearn for. Lily is incapable of finding a home in any houses she moves in and out of until the end of her life. At the end of the novel, Wharton introduces a house of Nettie Struther, a typist whom Lily once helped, as the idealistic home where Lily finds for the first time `the central truth of existence` in her life. Wharton creates a classic sentimental image of home with Nettie`s. Although this ending has been criticized as too sentimental as well as abrupt, Wharton imagines not a woman being confined at home, but a more egalitarian, companionate marriage within Nettie`s home. This is an ideal, however, that is too far in the future for the homeless Lily Bart.

모녀 관계 정립을 통한 여성의 독립 : 『 순수의 시대 』 ( The Age of Innocence ) 를 중심으로

정혜옥(Hae Ok Chung) 한국현대영미소설학회 1999 현대영미소설 Vol.6 No.1

This article is to examine the achievement of a woman`s independence by the help of mother figures in The Age of The Innocence by Edith Wharton. Most of Wharton`s novels rarely present a wholesome and warm relationship between women, which was partly caused by her own relationship with her mother and partly by the patriarchal society. In this novel Wharton shows us the heroine, Ellen Olenska`s achievement of maturity and independence from her own bitter experiences and with the substitute mothers` supports. Having gone into the depth of herself and having faced Gorgon, Ellen experiences the abyss of nothingness, from which she comes back to a real life with a maturity of mind and spirit. Her independence and freedom of movement gives her control over her own life. Although she comes back to New York from Europe to forget everything in past, she cannot be changed into an acceptable woman by conventional Old New York society. Ellen, however, has two old women who provide her with a strong female heritage. As in the best mothering, aunt Medora and grandmother Catherine allow Ellen to outgrow them in self-knowledge and initiative. Until Ellen reaches this point, they provide the financial and emotional support that allows her to nurture herself. Medora offers Ellen an unconventional education which allows her to free from the patriarchal system of society. With Catherine`s support, Ellen is able to lead an independent life from her wicked husband even after going back to Europe. A conventional hero, Archer Newland begins to question of patriacrchal control over women, after he met a real mature woman, Ellen. His relationship with Ellen takes him beyond self he used to, even though he never breaks through the wall of the conventional. Having experienced Ellen`s `abashed sincerity,` he gets the first glimpse of a real life. Even if Wharton has been criticised that she does not suggest a better choice for Ellen, we cannot help admit the writer exquisitely illustrates a heroine who can refuse to go back to the cage of the husband and lives independently by the help of a `great Mother.` By creating a mother/self and establishing a solid relationship of mother and daughter in `the land of letters,` Wharton can be said to make peace with her own femininity and attain warm and soft attitude toward life.

청교주의와 이디스 워튼: 이디스 워튼의 『이썬 프롬』과 『여름』을 중심으로

정혜옥 ( Hae Ok Chung ) 미국소설학회(구-한국호손과 미국소설학회) 2004 미국소설 Vol.11 No.1

목양신의 역사화, 탈역사화: 『대리석 목양신』을 중심으로

정혜옥 ( Hae Ok Chung ) 미국소설학회 2008 미국소설 Vol.15 No.2

The Marble Faun: A Romance of Monte Beni, the romance produced by Hawthorne`s sojourn in Italy borrows the landscape of Italy to explore the dialectic of innocence and guilt, employing conventional notions of Italy as the ideal setting for an allegory of t

대중출판문화와 이디스 워턴: 『그 지방의 관습』을 중심으로

정혜옥 ( Hae Ok Chung ) 한국영미문화학회 2013 영미문화 Vol.13 No.3

This article is to examine the impact of mass publishing culture on The Custom of the Country by Edith Wharton. This novel demonstrates not only the rapid changes in publishing culture, including those influencing Wharton`s practice as a novelist, but also the relationship between the author, the publisher and the reader. The novel portrays the for-profit print`s encroachment in the public sphere and the formative effect of mass culture through Undine Spragg, the novel`s energetic main figure and a polity comprised of media consumers, and also through Ralph Marvell, a member of the fading gentry class and tragic victim by new social trend. Unlike Undine who is eagerly willing to be guided in her social aspirations by mass print market`s products, the author felt deep ambivalence to the fast changing publishing market caused by commercialization of society. The novel presents a mixed view on its valuation of a tradition capable of countering such trend, despite concerns over the commercialization of society. Wharton maintains not only the flexible attitude toward the profit-oriented print sphere, assessing its powerful influence of the publishing market, but also the belief that fiction can address impending social issues to change the readers in a mass society. Through Undine`s materialistic and superficial behavior formulated by mass publishing culture, Wharton ultimately leads the readers to reflect themselves on what they have gained and lost. At the same time, she also guides them to evaluate the “real culture” Ralph Marvell tries to keep but fails. With this novel, Wharton makes immense efforts to prove that a simultaneous literary engagement of the social ills with the satisfaction of the profit motive is possible. Wharton also accomplishes here an unassailable literary thematic complexity; she endeavors to make her novel`s status part of a counter-narrative to mass publishing culture, the profit-driven culture that led to creation of Undine.

미국의 역사 만들기: 기억과 망각의 변증법 : 『에드거 헌틀리』를 중심으로

정혜옥 ( Hae Ok Chung ) 미국소설학회 2006 미국소설 Vol.13 No.1

여성의 시각화, 대상화: 라파엘 전파와 세 편의 미국소설을 중심으로

정혜옥 ( Hae Ok Chung ) 미국소설학회(구 한국호손학회) 2015 미국소설 Vol.22 No.1

This article is to examine the visualization and objectification of women in Nathaniel Hawthorne``s The Marble Faun, Henry James`` The Portrait of a Lady and Edith Wharton``s The House of Mirth in relation with the Pre-Raphaelites``s representation of women. The Pre-Raphaelites revolted against the dictatorial policies of the Royal Academy in painting and the taste for ‘genteel`` in literature. The revolutionary and innovative spirit of the Pre-Raphaelite art initiated new approaches to perceptual and psychological realism. It also triggered new ways of seeing, feeling, and expressing emotions. The three novelists aimed to re-figure the characters of women into narrative texts by taking some of the innovative techniques and the themes found in Pre- Raphaelite paintings as intertextualization between visual arts and literature was a trend in Victorian culture. In the beginning the Pre-Raphaelite painters insisted on moralistic and earnest themes in their art. They were, however, gradually attracted to the sensual and visual pleasures which were revealed in the images of women represented as passive and submissive objects of men``s desire. The three American novelists in the article, each published at intervals, demonstrate the changes in the representation of women that are analogous to those of Pre-Raphaelite visual art. Although three writers succeed in expanding their voices by intertextualizing the two realms, they intend to go beyond the limits of visual art. Hawthorne shows the two opposite women, a pure angelic virgin and a woman of experience corresponding to the ones in the Pre-Raphaelite paintings. He lets us recognize the danger of categorizing women in two opposite kinds. James demonstrates a ‘new woman`` who defies the men who try to trap her into their frames and enjoy watching her as a kind of ‘tableaux vivant.`` Wharton criticizes the objectification of women more aggressively by overlapping the tragic life of Lily with that of Elizabeth Sidall, the wife as well as model of Dante Gabrielle Rossetti, a leading Pre-Raphaelite. The expansion of such verbal and visual boundaries, achieved through the coalescence of the two arts in these novels, may extend the messages of the novelists to the social sphere, rather than being confined to the aesthetic realm. At the site of the intertextualization, where the fiction merges with the reality more readily, readers will be drawn to confront more than just fictional issues: they will face the very questions in their lives. Eventually the readers will be encouraged to consider the alternatives and solutions of the problems the novelists propose more sincerely and genuinely.

미국인으로 뿌리내리기: 『에드가 헌틀리』를 중심으로

정혜옥 ( Hae Ok Chung ) 미국소설학회(구-한국호손과 미국소설학회) 2005 미국소설 Vol.12 No.1