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손나경(Na Gyung Sohn) 한국영미어문학회 2005 영미어문학 Vol.- No.76
This article is to investigate politics and writing in Joseph Conrad's works, looking into two main characters unvoluntarily involved in political incidents: Nostromo and Razumov. Politics is one of most important motives of Conrad's writing. In the case of politics in Conrad's works, what ideology a person has is not a point; instead, it is the gap of private and public aspects of political matters imposed to an individual. Nostromo and Razumov were obliged to be embroiled into social convulsion and perform their own supposed political role in it. In this process they should face an existing gap between the supposed role and their real ego, and cope with the levied problems in their own ways. The way to find the characters' stand in political conflicts and express themselves is structured in narrative itself, and this is also related to their efforts for dominancy in the narrative structure. The only and most effective strategy each of the characters wields is hiding and revealing the secret he has. They use this means to take a stable stand in political relations as well as in narrative. We can say that Nostromo failed to occupy it because he lost his secret and words; on the contrary Razumov succeeded in acquiring it. These character's passage and efforts to occupy a just portion in narrative and to be safe is in the same track of the author to keep tracing his unconscious and private desire. It is well known that the author was born and raised in the family suffered from the political incidents. Therefore, politics is not only an idea but also a part of real life to him and his family. Revealing and Hiding we can find in Nostromo's and Razumov's tales is also shown in the writing course of Joseph Conrad. As a result, the author meets another self through writing just as the two characters try to find their own words.
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The Double Narration in Under Western Eyes
Sohn Na-Gyung(손나경) 신영어영문학회 2003 신영어영문학 Vol.26 No.-
이 논문은 『서구인의 눈으로』의 서사구조를 영국인 선생과 라주모프의 이중서술적 측면에서 연구한 것이다. 작품의 서술자로 등장하는 영국인 선생은 자신을 “무기력한 관찰자”로 비유하며, 라주모프가 러시아어로 쓴 일기를 영어로 재해석하는 작업을 한다. 이는 두 개의 틀, 즉 라주모프의 틀과 그 밖을 에워싼 영국인 선생의 틀의 존재를 가정하게 한다. 그러나 실제로 이 작품은 서술자인 그와 서술의 대상인 라주모프라는 애초의 설정을 빈번히 위반하는 대목으로 채워졌다. 이성적 서구인의 안목을 대표하는 영국인 선생은 서술자인 자신의 위치와 서술자적 권위를 여러 곳에서 라주모프의 의식의 목소리에 할애한다. 결과적으로 서구적 시각인 영국인 선생의 서술과 러시아적 시각인 라주모프의 서술이 함께 공존하는 이중적 서술구조가 생기게 되며, 이런 구조는 한 대상이 가진 여러 양상을 병치시키는 작가 콘라드의 전형적인 문학기법이 서사 구조적 측면으로 확대구현된 것이라고 볼 수 있다. 영국인 선생과 라주모프는 어떤 경우 목숨을 걸어야 하는 상황에서도 쓰는 행위에 몰두하며, 동시에 작가가 작품을 쓸 때 겪을 수 있는 과정을 재연한다. 즉 영국인 선생은 서구인임을 강조하지만, 자신의 비서구적 측면을 보여주고, 객관적인 척하지만 서사속 대상들의 관계에 어쩔 수 없이 개입하는 아이러니를 범한다. 또한 라주모프는 실재의 자신과, 보여지는 자신의 이중성 속에서 언어개임을 즐기며 자신의 주체적 언어를 찾아가는 과정을 겪는다. 결과적으로 이 서술구조는 “언어가 실체의 가장 큰 적”이라는 서구인 선생의 말처럼, 실체를 언어화하는 작업에서 작가가 궁극적으로 봉착하는 절망감과 냉소를 독자가 공감할 수 있게 하는 장치라고 할 수 있다.
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손나경(Na Gyung Sohn) 한국영미어문학회 2007 영미어문학 Vol.- No.85
This study is to investigate the structural characteristics and the cinematic effects(visuality) of Joseph Conrad"s novel, The Secret Agent(1907). The structure of The Secret Agent is composed of double narrative lines. The Political Line narrates the political meanings of the characters" involvement in the attempted Greenwich Observatory explosion, and the Domestic Line follows the private aspects of the incident. These two structural lines are juxtaposed, and designed to make several switching points where one line appears forward and the other recedes. At the same time, this structural peculiarity resulted from the two lines affects the private(domestic) and political situations, the settlement of the incidents, and the characters" fate, creating dramatic irony which occurs when each character misunderstands his or her behaviors" political and private meanings. The dramatic irony and the unique narration of the double structural lines are also associated with cinematic effects. Among the visual arts, cinema has both features of simultaneity(juxtaposition) of the visual arts and narrative structure of novels, which we can find in the Secret Agent. As a result, it can be said that the juxtaposed narrative lines and the dramatic irony in the Secret Agent imitate the visuality of cinema.
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콘라드의 「에이미 포스터」: 얀코(Yanko)의 외상과 서사
손나경(Na-Gyung Sohn) 신영어영문학회 2006 신영어영문학 Vol.35 No.-
Yanko Goorall, the main character of Joseph Conrad’s “Amy Foster” has been regarded as a palpable reflection of the author on the ground of the similarity of their alienated life and extreme experience in foreign countries. Yanko’s experience in sea and foreign lands can be called “Trauma,” which leads a person close to death, and triggers a variety of stress disorders in its aftermath. One of the important remedies of the Post-traumatic stress disorder is to make patients speak and write on their traumatic experience repeatedly to reduce the original impact they felt. Kennedy, the narrater/listener of Yanko’s tale, conducts such a role of making Yanko’s traumatic experience into a narrative. He shows his own permeated sympathy with Yanko’s parting from his home land and shipwreck; however, his narrative is partially successful, because he fails to perceive the otherness Yanko met in England and predict his death.
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