외상, 역사, 서사

민승기 한국근대영미소설학회 2012 한국근대영미소설학회 학술발표논문집 Vol.2012 No.-

근대 영국 여성의 여행과 글쓰기의 다양성

박선화 한국근대영미소설학회 2023 근대 영미소설 Vol.30 No.2

This paper examines modern Western women’s traveling, their adventures, and travel writing. By looking at their travel writing, such as that of Lady Mary Wortley Montagu, Isabella Bird Bishop, Kate Marsden, and Mary Kingsley, this paper focuses on modern British women’s activities and perspectives, and highlights how their traveling influences some of the travelers to construct their identity as a writer. The travel narratives might vary depending where the women travelers are and what they see in the sites they visit. That is, unlike men’s, women’s travel accounts show diversity due to their positions and conditions. Lady Mary Wortley Montagu approached traditionally male-dominated discourses across her letters, including a controversial argument about the veiling of women. Isabella Bird Bishop did not describe common and trivial women things in her travel writings, but followed the perspectives of the West European Empire’s ideology. Kate Marsden was ignored by the male scholars because of her scandalous life as a lesbian, which was the worst social stigma at that time. And Mary Kingsley challenged the male-centered society by spelling her name as M. H. Kingsley by insinuating she refused to follow the man-woman dichotomy. Therefore, this paper argues that overcoming their own marginal positions and limitations in the modern world, some women travelers come to understand different peoples and cultures through their self-reflective writing.

『근대영미소설』 연구 경향(1994~2022)과 소설론

박종성 한국근대영미소설학회 2023 근대 영미소설 Vol.30 No.2

The year 2023 marks the 31st anniversary of the Korean Society of British and American Fiction (BAF). On this occasion, it is time to analyze the total number of 634 articles published in The Journal of British and American Fiction (1994~2022). I propose mapping the research trends, moving roughly from realism through post-structuralism to a comparative study of the literary text and its cinematic adaptation. This will give us a clear sense of what we have achieved in the last 30 years. I then go on to explain some characteristics of different types of the novel genre, look at how to construct a house of fiction, and highlight the positive effect of the novel. I also make some suggestions so that Korean readers can learn about the theory of the English novel, particularly the positive effect the novel can have. Finally, I discuss some of the current challenges facing scholars of the English novel genre and seek solutions. This paper will be a valuable resource for scholars specializing in the English novel genre.

지젝의 트라우마와 『필경사 바틀비』

정혜욱 한국근대영미소설학회 2012 한국근대영미소설학회 학술발표논문집 Vol.2012 No.-

서사 장르의 소설화: 『모비딕』의 경우

임정명 ( Jungmyung Lim ) 한국근대영미소설학회 2017 근대 영미소설 Vol.24 No.3

Genres are to inescapably change when new and additional thematic topics are introduced into their repertoires. Herman Melville was in a great need of a peculiar American epic genre which could embrace plural, democratic, and non-Western interests of people in commonality. Melville recognized that generic features of epic were unfit to achieve the ultimate pluralism of the stylistically diversified novelistic subject, due to lack of variety in the voices of the epic narrator which turned out to have caused banality of epic genre. Out of the need to adjust literary devices and formulaic epithets of epic into a modern novel genre, Melville had created Moby-Dick in his most inclusive literary form of novelized epic replacing epic universalism with novelistic pluralism and stylistic diversity. His novelized heroes, however, attempted neither to escape nor to deny the thematic universality of the conventional epic heroes. They extended and transformed their interests by embracing diverse cultural, racial and religious facets of comprehensively intricate world. They ultimately analysed and represented the plural whole, rather than to conform to a universally preconceived ideology. Melville focused on epic’s generic feature as spurred by cultural contact but he removed the temporal and spacial hierarchical distance among different foreign cultural entities. Consequently, wide-ranging equal input of diverse cultural environments were staged instead. Melville’s novelized rhetoric was not limited to the coherent epic narrator and naturally erased universal Western stereotyping against non-Western oriental world and succeeded in portraying a more pluralized Western world by familiarizing the different East with the West through diverse narration.

반-스파이소설과 반-추리소설로서의 『비밀요원』

계정민 ( Joengmeen Gye ) 한국근대영미소설학회 2017 근대 영미소설 Vol.24 No.1

This paper reads The Secret Agent as an anti-spy and anti-detective fiction. The Secret Agent subverts the convention of spy novels through the degrading representation of a spy character and his espionage. Verlock, the double agent in the novel, stands as the opposite of the ideal spy―the young, brave, smart, good-looking hero. His intelligence operation is represented in terms of running a porn shop. The Secret Agent deconstructs the formulas of detective fiction by subversively representing law, crime, science, home and family. In the Secret Agent, there is no distinction between criminals and law enforcement officers; the confidence in scientific investigation is denied; and home functions as the hotbed of abuse and murder. The Secret Agent not only performs anti-genre experiments but displays a totally different view on the world. Showing the dark and pessimistic view of the world which would emerge in hard-boiled detective fiction after the World War One, it proves that Conrad has an apocalyptic insight into the future.

외상적 실재의 귀환과 서사: 포크너의 『압살롬, 압살롬!』을 중심으로

황보경 한국근대영미소설학회 2012 한국근대영미소설학회 학술발표논문집 Vol.2012 No.-

영국 교양소설의 진화: 조지 맥도날드의『판타스티스』

성은애 ( Eun Ai Sung ) 한국근대영미소설학회 2014 근대 영미소설 Vol.21 No.1

This paper proposes to replace George MacDonald’s fist fantasy novel for adult readers Phatastes in the history of British Bildungsroman. While MacDonald has been considered a religious mentor or a fairy-tale writer for children, Phatastes reveals richer literary legacy than his later fairy-tales for children. Goethe’s The Apprenticeship of Wilhelm Meister, together with other German Romantics, had a great influence on MacDonald’s early years. Instead of transforming Bildungsroman into a more realistic genre as other British author such as Charles Dickens and George Eliot, MacDonald goes against the major trend of the contemporary discipline of realism. He draws more on the Romantic tradition in English literature than on social satire or moral realism of contemporary novelists. Phantastes owes much to Goethe and Shelley in that the hero starts on a journey to find the ideal of his life. MacDonald combined the Bildung of the hero with fantastic adventures in the land of the fairy, making the organic unity of the classic Bildungsroman, now destroyed in the modern world after the French Revolution, possible once more. In Phatastes, MacDonald tries to reconcile the apparently conflicting ideals, a Romantic artist who risks everything to find the ideal beauty and an ideal Victorian gentleman who can judge what is right and is courageous enough to act according to his own judgement whatever comes his way. This effort results in the bricolage, often blamed for its lack of consistency and unifying principle. Apart from the fact that the genre of Bildungsroman itself presuppose a degree of bricolage, MacDonald’s bricolage can be regarded as a significant experiment in the evolution of Birtish Bildungsroman, marking its important point of bifurcation.

다니엘 디포와 근대 개인주의: 『록사나』를 중심으로

이혜수 ( Hye Soo Lee ) 한국근대영미소설학회 2014 근대 영미소설 Vol.21 No.3

This essay intervenes in and complicates the discussion that a distinguishing aspect of Daniel Defoe`s novels lies in their trenchant grasp of modern individualism by reading Roxana. Defoe`s conception and representation of modern individualism in Roxana are not fully explicated by what has been considered the hallmark of his individualism, that is, economic individualism and Protestant interiority. The eponymous heroine of Roxana is, like most hero/ines of Defoe`s other novels, a survivor of adversities and deprivations through her own resources and personal capacity; she seeks to be an autonomous and independent self regardless of the external environments. Yet while Roxana`s hard-acquired autonomy, which is initially predicated on her willful determination to be apart from morality, empowers and enables her to pursue a higher ambition, it also turns out to involve some necessary anxiety, guilty feelings, or self-alienation as the story goes on. The last part of the novel, in which Roxana`s name-sake daughter Susan haunts her and tries to reveal her identity as Roxana, stands as a compelling vignette that shows the nightmarish, repetitive, and unconscious underside of the enlightenment of modern individualism. Defoe`s last novel, the last Susan scene in particular, allows us to see that Defoe`s vision of modern individualism might be much more complex, ambiguous and ambivalent than is usually conceived.

"위험한 동결자본"- 하드보일드 추리소설에서의 팜므 파탈의 경제학

계정민 ( Joeng Meen Gye ) 한국근대영미소설학회 2015 근대 영미소설 Vol.22 No.1

This paper aims to examine the representation of femme fatale in hard-boiled detective fiction. It argues that the femme fatale in hard-boiled detective fiction is represented not in terms of gender disruption and sexual desire but of greed for capital. The femme fatale in hard-boiled detective fiction reveals high similarity with capitalists in that both accumulate wealth by using such illegal means as appeasement, blackmail, and conniving with the government. Although the hard-boiled detective fiction reveals its intense hatred and strong aversion to capitalist class, it punishes femme fatale instead of capitalists. This paper interprets the severe punishment on femme fatale in hard-boiled detective fiction as a vicarious projection of hatred against the capitalist class on femme fatale represented in the image of capitalists. Thus the hard-boiled detective fiction reaffirms and reassures the dominant ideology.