침묵의 이야기를 통한 단절의 해소

황남엽(Hwang Namyeob) 한국동서비교문학학회 2011 동서 비교문학저널 Vol.0 No.25

Hiromi Goto’s Chorus of Mushrooms and Joy Kogawa’s Obasan break the historical silence of the marginalized race using the speakers’ voices. Murasaki from Chorus of Mushrooms and Naomi from Obasan are the speaking agents or subjects that break the silence on racism and separation of the family. Shameful history and the trauma of racism are reshaped and recovered by Goto and Kogawa in Murasaki and Naomi’s narratives. Goto in Chorus of Mushrooms criticizes Kay’s method of assimilation and resolves family members’ sense of separation and conflict through Murasaki’s retelling. Goto gives voice to the silent and passive Naoe, through Murasaki’s fantasies and reflections on her own grandmother. In the process of Murasaki’s retelling of her grandmother, Naoe is reborn into an active, enthusiastic, and passionate woman giving challenge to the stereotypes of the Asian woman. Also, Murasaki’s sisterhood with her mother helps Kae to recover her Japanese roots and her relationship with Naoe. Finally Tonkatsu’s family members forgive and understand each other due to the bond of sisterhood. Kogawa in Obasan criticizes the treatment of Japanese Canadians during World War Ⅱ and reveals their hidden history. Kogawa intertwines history with fictional tragedy, and invokes themes of isolation and separation in Naomi Nakane’s narrative. The narrative reveals how both silence and voice can give strength and understanding, and brings together three generations within a family. In the process of retelling history, Naomi finally listens to the silence, Obasan’s voice, and understands her mother’s love for her children by engaging in silence. Naomi gives voice to Obasan, and eventually understands her mother’s silence as a protection against racism and prejudice, and in doing so, Naomi gains a greater understanding of her own mother. The loneliness of isolation and separation become more bearable, with the retelling narrative. Goto and Kogawa demonstrate that both Asian Canadians and Caucasians have responsibilities for the problem of racism. Both sides must make an effort to remove racial prejudices against one another to share a more harmonious experience for social integration. Goto and Kogawa, who lived as minorities in Canada, criticize racism as a creator of conflict and segregation within communities and families. Their narratives address racial prejudice by allowing readers to re-visit a Canadian history affected by racist and prejudiced laws and views. These narratives retell their own experiences as minorities in a whitecentered history. The retelling of these stories provide a better outcome for the families, than the true story. In short, Goto and Kogawa pursue into the tolerant world without any racial prejudices through the power of telling.

맥베스와 레이디 맥베스의 왜곡된 남성성과 여성성

황남엽(Namyeob Hwang) 한국셰익스피어학회 2013 셰익스피어 비평 Vol.49 No.3

The Renaissance was the time of transition from the Middle ages to the modern era. Although it was commonplace for people in Renaissance period to uphold social norms of a patriarchal society, a few daring people were able to hold an alternative world view, which consisted of progressive and dynamic attitudes towards the rigid gender system. Reflecting this new world view towards women, William Shakespeare presents the unique situation of this transitional period in Macbeth. Depicting Macbeth’s de-masculinization and Lady Macbeth’s de-feminization, he portrays the conflict and contradiction between the old and new paradigms related to gender. Shakespeare opposes the extreme polarization of sex roles, that is, women must be passive and weak, while men must be active and strong. He also recognizes the creative power of androgyny, that men and women naturally display both masculinity and femininity. Macbeth and Lady Macbeth are captured between the old order and the new order and cannot escape from the void. Shakespeare implies that their tragedy is not simply due to their own faults, but to the transitional situation between the old and the new gender identities. The moment when Macbeth and Lady Macbeth think they find a new kind of gender identity, they lose everything, including their lives. Macbeth and Lady Macbeth fail to adapt to society in the process of seeking a distorted gender identity. Through Macbeth, Shakespeare creates a picture, where a mysterious force stronger than individuals shapes major characters’ lives even against their will, and in this picture we are presented with a hero and a heroine who are trapped and destroyed by misunderstanding their own gender roles.

가족사 탐색을 통한 화자의 성적(sexual) 독립

황남엽(Hwang, Namyeob) 한국동서비교문학학회 2012 동서 비교문학저널 Vol.0 No.27

한국과 캐나다의 다문화주의 비교

황남엽(Hwang, Namyeob) 협성대학교 교양학연구소 2020 교양학연구 Vol.7 No.1

근래에 들어 한국에 거주하는 외국인들, 특히 외국인 노동자들과 결혼이주여성들의 수가 과거에 비해 현격하게 증가하고 있다. 이러한 인구학적 특성변화를 고려해 볼 때, 그들을 한국사회의 구성원으로 수용해야 하는 과제와 더불어 진정한 다문화주의에 대해 논의해야 할 필요가 있다. 비록 한국인들 사이에서 다문화주의에 대한 명확한 개념이 구축되어 있지 않은 상황이라고 하지만, 한국을 포함한 많은 다문화국가에서 서구의 다문화주의, 그 중에서도 특히 1971년에 시행된 캐나다의 다문화주의 정책을 이상적 모델로 상정하고 있는 실정이다. 그러나 진정한 다문화 사회의 이념구현은 가시적 법령이나 정책적 결과물에서 비롯되는 것이 아니라 비가시적으로 존재하는 인종차별의식이 사회의 저변에서 사라질 때 비로소 성취될 수 있는 것이다. 특히 한국은 인종적 동질성을 중심으로 한 ‘순혈주의적’ 인종주의와 서구문화의 유입과 함께 도입된 서구의 인종위계 질서를 바탕으로 한국인 특유의 인종차별의식을 조성했다. 이제는 이러한 한국의 특수한 상황을 고찰함으로써 ‘한국적’ 인종차별의식을 해소하고 진정한 한국의 다문화사회를 확립하기 위해 노력해야 할 때이다. 인종적 편견을 배제한 다문화주의를 추구하는 과정에서, 한국 사회는 외국인노동자들과 결혼이주여성들을 진정한 한국 사회의 구성원으로 수용하는 보다 나은 사회로 변화되어 갈 것이다. Recently, the number of foreigners in Korea, especially foreign labourers and immigrant women who are married to Korean men, has remarkably increased in comparison to the past. Considering the change of the country s demographic characteristics, it is necessary to discuss multiculturalism, with the aim to fully accept them as members of Korean society without prejudice. Though there is no concrete definition of multiculturism among Koreans, many multicultural countries, including Korea, have accepted western multiculturalism as being ideal, especially Canada s multicultural policies implemented in 1971. However, embodying the true idea of a multicultural society can be achieved not from a low or policy outcome, but when invisible racism disappears at the social base. Korea has fostered Korean racial discrimination with pure blood racism, based on the country s racial homogeneity, and with a western racial hierarchy, which was introduced with western culture. Now it is time to make efforts to solve a sense of Korean racial discrimination and to establish a true Korean multicultural society, absent of prejudice, by examining Korea s unusual circumstances. In the process of seeking multiculturalism without racial prejudice, the Korean society will be changed into a better one, which will fully accept foreign workers and immigrant women as Korean members.

『각성』에서 나타나는 동성애적 성향과 기독교적 관점

황남엽(Hwang, Namyeob) 신영어영문학회 2017 신영어영문학 Vol.68 No.-

차이나타운에 나타난 인종차별

황남엽(Namyeob Hwang) 한국동서비교문학학회 2015 동서 비교문학저널 Vol.0 No.34

Disappearing Moon Cafe by Sky Lee, a Chinese-Canadian writer, and Chinatown by Junghee Oh, a Korean writer, reveal the racial discrimination of the Other in the social and cultural context of Chinatown. This perspective is expressed through heroines of the two novels, Kae and an unnamed female character. In the process of exposing racial discrimination, Kae and ‘the girl’ become the mainstream speaking agents for the mostly silent and marginalized ethnic Chinese living in Canada and Korea. Kae, in Disappearing Moon Cafe, re-writes Chinese-Canadian history by using key historical events from 1892 to 1986. Through rewriting her family history and the historical accounts of the Chinese in Canada, she influenced her community to speak out against their present discrimination. In comparison, ‘the girl’ in Chinatown discloses a variety of racial discriminations. ‘The girl’ distances herself from her family members and observes the discrimination of the others: mostly Chinese and a Korean prostitute named Maggie. This includes Maggie’s mixed race daughter being racially victimized by ‘the girl’s grandmother. Through the perspective of an elementary school student, ‘the girl’ represents the transitional situation in Chinatown between the old culture represented by China and the new culture represented by America in the 1950s. Facing a confusing and contradictory world, ‘the girl’ realizes that there is nothing absolute and chooses an alternative life, one in which racism is no longer perpetuated. In brief, Kae and ‘the girl’ create a picture, which dispels prejudices against people of color, especially the Chinese, as social constructions, and in this picture we are presented with heroines exercising their agency, pursuing a more tolerant world, namely one without any racial prejudices.

『오셀로』에 나타난 데스데모나의 주체적인 여성성: 사랑과 결혼을 바탕으로

황남엽(Hwang, Namyeob) 협성대학교 교양학연구소 2015 교양학연구 Vol.2 No.1

본 연구는 <오셀로>에 나타난 데스데모나의 주체적인 여성성에 집중하여 인물을 탐색하고 그 여성성의 의의를 찾아보고자 하였다. 전통적으로 <오셀로>가 창작된 르네상스 시대에서 여성의 사회적 지위라는 것은 가부장적인 이데올로기를 지지하는 것에 불과했다. 이와 대조적으로 셰익스피어는 <오셀로>에 등장하는 데스데모나라는 인물을 설정하고 가부장적인 사회에 반하는 그녀의 위반행위를 통해 당시 남성중심사회의전복을 꾀하였다. 데스데모나가 이상적인 사랑과 결혼제도 안에서의 현실을 경험하면서 그녀의 강인하고 주체적인 여성성은 오셀로와 에밀리아와의 관계에서 드러나게 되고 그들과의 관계에서 그녀의 정체성이 발달하게 된다. 이를 통해 셰익스피어가 <오셀로>에서 가부장적 억압이라는 환경아래 여성의 담화를 위한 공간을 창출하려고 했던 것을 제시하고 그가 여성의 양성적 개념을 촉진시킨 여성해방론자가 될 수 있다는 가능성을 제기하였다. This study explored Desdemona in Shakespeare’s Othello, by focusing on her subjective femininity, and the meaning of her femininity. Traditionally, the societal position of women, in the era of England’s Renaissance, was only to support patriarchal ideology. In contrast, Shakespeare sets up a female character, Desdemona in Othello, who subverts the male-centered society through her transgressive actions. Desdemona’s strong and subjective femininity results from her relationship with Emilia, as well as with Othello, in which her identity evolves when ideal love, and reality within the marriage system are experienced. Through this, this paper suggests that Shakespeare in Othello tries to create a space for woman’s discourse under an environment of patriarchal repression, and thus, presents the possibility that Shakespeare might be a feminist who promotes a androgynous notion of the female.

플립러닝 기반 <영어와 문화2> 수업의 사례 연구 ―『파이 이야기』를 중심으로

황남엽 ( Namyeob Hwang ) 21세기영어영문학회 2023 영어영문학21 Vol.36 No.4

This paper explains my approach to teaching the class ‘English and Culture 2’ in the spring of 2022 by considering the pedagogy of flipped learning as a paradigm of teaching-learning. In the process of planning and organizing this class, I diverged from the ‘typical’ teaching of flipped learning, which had been specialized to science and engineering, and flexibly applied it to an English literature class. In preparation to teach Life of Pi, the novel and movie, learning materials such as English vocabulary and grammar were given to students in order to motivate them to read and understand the English novel. Secondly, the focus of the class was on reading comprehension, enhancing students’ reading skills, and improving their creativity. For the post-class, students were tested with an online quiz where they were not only asked to read a text, but to read parts of it out loud, and to concentrate on their pronunciation and accent. This series of flipped learning teaching-learning methods is the result of my new educational approach towards teaching language skills and English literature. The flipped learning teaching method can be modified and applied by undergoing meaningful trials and errors in a flipped learning class

교양교육 만족도, 교육적 경험, 학습 성과에 대한 인식 : 성별차이를 중심으로

김지혜(Kim, Jihye),박숭인(Park, Soongin),이진경(Lee, Jinkyung),황남엽(Hwang, Namyeob) 협성대학교 교양학연구소 2014 교양학연구 Vol.1 No.1

본 연구는 대학생의 교양교육에 대한 인식과 남녀 대학생의 인식의 차이를 알아보고 자하였다. 이를 위하여 경기도에 소재한 H 대학의 남녀 대학생 324명을 대상으로 설문조사를 실시하였다. 교양교육에 대한 인식은 교육에 대한 만족도, 교육적 경험, 학습 성과로 측정되었다. 분석 결과, 전반적으로 교양교육에 대한 인식은 보통 수준으로 나타났다. 여학생은 남학생보다 교양교육에 대한 만족도, 교육적 경험, 학습 성과에 대한 인식이 대부분 낮게 나타났다. 결론부분에서는 분석 결과를 바탕으로 전반적인 개선 방향과 남녀대학생의 욕구를 고려한 보다 세밀하고 정교화 된 교양교육의 개선 방향에 대하여 제언하였다. The purpose of this study is to examine the students’ perceptional differences of cultural education. With regard to this purpose, this paper investigated the opinions of 324 university students in Gyeonggi province through the survey. The perception of cultural education has been surveyed in three sections, as mentioned in the title. The result of the analysis is as follows: on average, the cultural education program is neither received as of little practical use nor as a program adding specific value to the participants lives, The Interesting point is that female students’ satisfaction, educational experience, and learning outcomes of cultural education is quite low as compared to that of the male students. In conclusion, this paper finds a need for the improvement and suggests a change in direction of more detailed and sophisticated cultural education, based on the findings of the analysis, hinting towards the real needs of the university students.

이중가면 : Disappearing Moon Cafe에 나타난 침묵의 여성들 Silenced Women in Disappearing Moon Cafe

황남엽 龍仁大學校 人文社會科學硏究所 2003 인문사회논총 Vol.- No.9

While Chinese-Canadian men are historically stereotyped as male-labour machines, Chinese-Canadian women are historically non-existent. As a result, there is a lack of representation of Chinese-Canadian women in dominant discourses in Canada. Sky Lee, using two different voices(Kae and Suzie) makes her female characters the speaking subject or the agent in order t o break the historical silence of the marginalized gender, especially the female silence regarding sexuality. Beyond that, Lee is reshaping Kae's shameful family history through the female characters' perspectives, and inciting readers to rethink how Kae searches for and finds her own identity through Suzie's struggles for sisterhood. The women in Disappearing Moon Cafe, particularly Mui Lan and Fong Mei, challenge the patriarchal structure from within -- they never overthrow the system but work quietly within it to subvert the strict roles of sexuality. Mui Lan became soulless and lonely because she existed only with the identity of the wife of Wong Gwei Chang, and the identity of mother't Choy Fuk. Without her own identity, Mui Lan is passive and silent -- almost non-existent. Mui Lan needs to be silent in order to survive in the patriarchy. This silence makes Mui Lan exercise patriarchal power over Fong Mei. She finds herself in charge of her daughter-in-law s life and becomes a victimizer of Fong Mei. It is because she is bound by the patriarchal social order, in which women cannot have any value without having babies, and because Mui Lan seems only able to establish her identity by victimizing Fong Mei. In this regard, she has a dual identity, both a victim of patriarchal society herself, but also a patriarchal victimizer of Fong Mei. Within the traditional Chinese patriarchal structure, a women s sexuality is passive and servile. The structure is stifling for women. Within this structure, Fong Mei with her decent wife identity does not enjoy sex with her husband: that is, she is bound by the patriarchal norm that the decent woman has to be passive in sex, and as a result, there is tension in the marriage. When Fong Mei cheats on her husband with Ting An, she breaks free of the traditional order, and it is only when she is outside of these boundaries that she can reclaim her body, take an active participatory role in sex, and experience a part of herself which had been repressed by a strict set of sexual roles. It seems apparent that Fong Mei subverted the strict codes of sexual roles of patriarchy by participating and enjoying sex with Ting An. Considering this, Fong Mei is still trapped by the patriarchal order because she is a "reproductive machine" - she must have babies to survive in the strict sexual norms of patriarchy. Yet, sht takes an active role in sex with Ting An because he is not her "real" husband: that is, she does not need to be a woman with the "decent wife" identity forced into the strict set of patriarchal sexual norms. In this regard, Fong Mei is still the victim of patriarchal norms even though she seems to escape from it. Suzie, Fong Mei's daughter, emerges into Kae's family history as a victim of the patriarchy: she is struggling with especially Fong Mei, who forces her to be silent about her "abnormal" sexuality (Suzie gets pregnant young and before marriage). Being an outsider to her family and to the traditional Chinese community, Suzie is finally deprived of the right of her newly-born child by the medical specialists and her family members. The doctor and Suzie's family members seem to exist within the boundaries of the traditional order that women must follow the sexual norms to be married and not be underage: so the doctor did not pay attention to her newly-born baby as much as a "normal" newly-born baby. Considering the relentless traditional patriarchal surroundings against her, Suzie refuses to compromise, and Kills herself. It is a radical action, but her only escape. I think that the silence of the previous generation surrounding sexuality is what drove Suzie to suicide. If they had been able to speak freely about sexuality, Suzie would have known the facts, i.e., Morgan is her half brother, and not killed herself. In this sense, she is a victim of the patriarchy. And yet, in another sense, she is a rebel because she took an active role and "quits" the society, and she broke a taboo of love with her half brother. When Kae looks at a family photo, she finally finds out that another cause of Suzie's death is a lack of sisterhood within the family. Related to sisterhood, Kae criticizes the hostile relationships between Mui Lan and Fong Mei Kae believes that if there had been no hostile relationships between them, Fong Mei would not have had a double identity of sexuality and beyond that, she would not have caused Suzie's suicide by forcing her not to marry Morgan and to be silent of her "abnormal" sexuality. And also, if Beatrice, whom Suzie trusted the most had some kind of sisterhood for Suzie crying out for help. Suzie would not have killed herself. Through this woman-centered narrative. Kae stresses that the victimizer of women in the patriarchy is a female herself, who suggests a definite lack of sisterhood. Kae finally denounces her mother. Beatrice, who is still silent about her family's "shameful" sexuality after listening to Suzie's tragic story from Morgan. Kae, who experiences and "identity crisis", decides to become a "true" writer. And she removes the silence and prohibition which surrounded sexuality for her ancestors, and creates a kind of "sisterhood" by examining the circumstances around Suzie's death for future female generation. So it is an alternative history. Besides Kae's "family saga" will perhaps remove the doubleness from Chinese women, remove the masks, with the goal being authenticity. Particularly for women yet to be born, who will be struggling with the same patriarchal oppression.