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최주리 한국일어일문학회 2019 日語日文學硏究 Vol.109 No.-
This paper examines the shortened words by studying the words appearing in Shin meikai kokugo jiten (New lucid dictionary of the Japanese language) and the usage of youth language in Basic Knowledge of Modern Terminology included in the editions from 2000 through 2012, while focusing, particularly, on the usages whose original form of the words has gone through ellipsis. While the shortened words found in Shin meikai kokugo jiten have much more popular usage that do not follow temporary trends, Basic Knowledge of Modern Terminology is a journal that includes newly coined words or fad words, which show the atmosphere of the time. As the two materials under examination have contrasting characteristics, it can be expected that they will show distinct differences. Hence, in Chapter Four, the words under examination are categorized into two categories based on their original forms prior to ellipsis: the ones whose original form are a word and the ones whose original form are more than a word. As it becomes too complicated to simply classify the word type or elliptical expression of the words, whose original form before the abbreviation is phrase or sentence, the scope of my examination is limited to the ones whose original form is either a word or not. Word type and elliptical expression are categorized based on its original form prior to the ellipsis. The former is classified into native Japaneseword, Chineseword, loanword,andhybridword,and the latter is divided into single ellipsis and multiple ellipsis. As for single ellipsis, it is categorized into initial, medial, and final ellipsis. In doing so, this paper aims to understand the modality of shortened words by comparing and contrasting the shortened words in Shin meikai kokugo jiten and in youth language through classification and analysis of the linguistic usages. .
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Performing the Female Will in Elizabeth Inchbald’s A Simple Story
최주리,양소정 한국18세기영문학회 2012 18세기영문학 Vol.9 No.2
The story of Miss Milner in Elizabeth Inchbald’s A Simple Story (1791) can be read as an elaborate testing of exactly what the valences of consent might imply for a female subject, formerly a minor and guard, to become an equal partner of a marriage contract. Miss Milner’s impetuous obsession with subduing her lover to her will is more than a personal psychological flaw. She will only enter into marriage once she has established that they are equals as they enter into a contract that enforces inequality. Submission is a willed decision, based on a faculty that retains the prerogative of choice, hence always resting on the potentiality of disruption and revolution. Meanwhile, the story of her daughter Lady Matilda can be read as an elaborate testing of exactly what the valences of consent might mean for a female subject, a minor and a daughter, who is unfairly subjected to paternal persecution despite her complete compliance with his Gothic and unfatherly rule. Matilda’s will-ful adherence to her father’s injunctions rightfully earns his belated protection, and she is given sole power to determine the matter of paternal inheritance through her will. Re-examined in this manner, both mother and daughter in A Simple Story can be read as “willing” women who take serious and consequential positions within the same story.
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Metropolitan Realism and the Rixe of the Novel: A Simmelian Approach
최주리 한국영어영문학회 2006 영어 영문학 Vol.52 No.5
This paper argues that the rise of the realist novel in England in the eighteenth century can be viewed as a function of the rise and consolidation of a metropolitan economy based on money relations. The insights of the early German sociologist Georg Simmel show us how the category of the real in the early modern period relies on the greater objectivity of the calculating intellect but also on the depth and particularity of the unique and isolated subjectivity of the modern individual. The realistic method and the real subject become so within the context of a metropolitan modernity based on an advanced money economy. Simmel's work provides a rich explanatory context which allows us to understand both the preponderance of objective modes of representation and the formation of new kinds of private subjective experience in the novel.
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English Nature: Planting and Gardening in Jane Austen
최주리 한국18세기영문학회 2018 18세기영문학 Vol.15 No.1
The meaning of the garden is rich and varied. As respite from the world, the locus ameonus is replete with significance, tending to both innocence and pleasure, Eden and Elysium. In this essay I meander through Austen’s works to thread together themes of planting and gardening to piece together her views on beauty and science, consumption and connoisseurship, fashion and trade, taste and greed as they cross and intersect in the fascination and love for the bounties of nature, newly expanded to include thousands of new plants, flowers, trees, and fruit from the colonies. The love of gardens united a growing sector of the English public, giving rise to that particular national obsession, the English Garden, in a period that was otherwise divided in so many ways. The large theme of this paper will be to chart the modern recreation of nature as vraisemblance at the heart of the English landscape gardening movement that can be characterized in Jean Baurdrillard’s terms as simulacrum. Austen is keenly aware and wary of the effort and capital that necessarily accompanied the transformation of land into landscape. The English garden entered the domestic world of the interior, both as the verdure of England and the culture of England, protected from the torrid sun of other places. This is the “Nature” celebrated by Fanny from within the windows looking out onto the garden at Mansfield Park, built on sugar money from West Indian plantations. I discuss the topic of exotic treasures like pineapples that heighten the pleasures of home and the rich and dramatic new ideal of the picturesque flower garden, before returning to the topic of the picturesque natural landscape. The final section is a meditation on the parable of the house built on sand containing Austen’s last earthly thoughts on the topic of engineering Nature in the unfinished Sanditon.
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영혼의 구두점 찍기 : Persuasion 을 중심으로 The dash of sympathy in Persuasion
최주리 한국영미문학페미니즘학회 1997 영미문학페미니즘 Vol.5 No.1
Dash는 글을 잘 못쓰는 작가들 즉, 바르고 문법적인 글을 쓰지 못하는 작가들에 의해서 쓰여지는 구두점으로서 길면서도 그늘에 가리워진 역사를 가진다. 종종 비일관적인 성격을 나타내는 것으로 특징지어지는 이 구두점은 여성의 우유부단함을 나타낸다고 여겨지는 불명예를 가지기도 한다. 본고는 이러한 dash에 대한 관점을 문제삼는다. 필자는 Persuasion 사본의 여러 장에 나타나는 Jane Austen의 dash의 사용을 검토하고, 우리가 "글을 못 쓰는 작가"로서 분류하는 적이 거의 없는 여성- 오히려 여성들에게서 전통적으로 나타나는 지나친 기교적 글쓰기를 극복한 이로 보는 작가가 쓴 소설에 나타나는 수많은 dash들의 의미가 무엇인지 알아본다. 필자는 dash가 Austen이 가지는 이상적인 주체성에 핵심에 있는 투과력있고 공감하는 영혼의 구성의 주요한 기표라고 결론짓는다.
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