헨리 제임스의 「정글의 야수」-삶에 대한 두려움-

조흥근 21세기영어영문학회 2009 영어영문학21 Vol.22 No.1

“The Beast in the Jungle” can be considered as a companion piece of “The Altar of the Dead” in that both tales are concerned partly with the English Decadence of the 1890s and partly with the classical modernism in the early twentieth century. The heroes in both tales make an escape from ‘everyday routines’ into their own particular inner world of imagination or fantasy in which they build a strong fortress of egotism or narcissism. John Marcher in “The Beast in the Jungle” makes a journey of “a great negative adventure” in his own world of fantasy, waiting for his own “exceptional” fate with May Bartram. But his journey ends with the nightmarish attack by “the beast in the jungle” representing his own final fate. The beast represents John Marcher himself who rejects May's true love and his own life. Thus, it can be said that this tale treats the existential themes of alienation and absurdity in the modern world.

The Tragedy of a Solipsistic Artist: A Nietzschean Reading of “The Beast in the Jungle”

Seung Cho 한국영미어문학회 2021 영미어문학 Vol.- No.142

본 논문의 목표는 헨리 제임스의 「정글의 짐승」을 유아론(唯我論)적 예술가의 비극으로 읽고 실재와 유리된 예술적 유아론에 대한 작가의 비판을 담아내는 것이다. 이 작품에 나타난 니체와 제임스 간의 유사성에 주목하여 본 논문은 예술과 허무주의에 관한 니체의 이론을 바탕으로 “짐승”에 대한 주인공 마처의 과대망상적 집착을 분석한다. 마처의 집착은 일종의 자기충족적 예술품으로 해석할 수 있으며 그의 고질적인 실존적 불안을 자기애적 환상으로 은폐하려는 목적을 지닌다. 자기애적 집착은 한시적이고 기만적인 안정감을 제공하지만 곧 현실의 삶을 도외시하는 태도로 이어지며, 결국 삶을 총체적으로 부정하는 결과를 초래한다. 이는 니체가 주창한 “불완전”하고 “수동적”인 허무주의의 필연적인 귀결이라고 볼 수 있다. 이어서 본 논문은 마처의 예술적 실패와 인간 실격의 원인을 삶의 전체성의 자발적 수용으로 대변되는 니체의 운명애(amor fati)라는 개념으로 고찰한다. 그리고 이를 통해 삶과 예술의 불가분한 유대와 예술의 항구적인 원천으로서의 삶의 중요성을 강조한 제임스의 사상을 조명한다. This paper purports to read Henry James’s “The Beast in the Jungle” as the tragedy of a solipsistic artist, the story that includes the author’s critique of artistic solipsism detached from practical life. Paying attention to a subtle congruence between Nietzsche and James, the paper examines Marcher’s obsession with the Beast fantasy based on Nietzsche’s theory of art and nihilism. Accordingly, Marcher’s Beast fantasy is viewed as a self-serving artifact that justifies his anxiety of living in the present world through the pleasurable illusion. His solitary pursuit of this artistic illusion offers him momentary relief and domestic safety. Yet, it leads to his renunciation of the world as the lived experience that ultimately results in no-life, a consequence of what Nietzsche puts as “incomplete” and “passive” nihilism. The paper goes on to investigate Marcher’s failure as both an artist and a person in light of Nietzsche’s notion of amor fati, characterized by the willful acceptance of the totality of life. By doing so, it illuminates James’s prominent emphasis on a necessary kinship between life and art and the importance of accepting the reality of life as a permanent background of art.

헨리 제임스 「정글 속의 짐승」

정윤정(Yun Jung Jung) 한국동서비교문학학회 2013 동서 비교문학저널 Vol.0 No.29

This study intends to analyze the influence of Merleau-Ponty’s notion of flesh in Henry James “The Beast in the Jungle.” Notion of flesh is the invisible physical character which is located between the visible and the invisible and is the mixture, crossing or infiltration of these two characters. In the same way, Yulgok argued that the world was composed of the combination of Yi, a metaphysical substance and Gi, a physical substance. He strongly insisted that Yi and Gi are different things from each other but have an inseparable relation. The structure of “The Beast in the Jungle” is grounded in a similar vision of human consciousness insofar as Marcher begins his respective adventures by evading the limits that bind him. After being exposed to the other, Marcher arrives at a transcendental apprehension with the phenomenological reduction to the thing itself. It suggests that his later works begin to pay attention to object itself. More precisely, we can see his interest shift from on the human-centered to on the object-centered.

가면으로서의 여성성과 거부된 남성 동성애: 헨리 제임스의 「정글의 야수」에 나타난 동성애 공포와 젠더 플루이드 양상

조현준 한국비평이론학회 2020 비평과이론 Vol.25 No.2

This paper aims to examine male homophobia and gender fluid aspects in Henry James’s “The Beast in the Jungle” in terms of the male homosocial bonds called ‘homosociality,’ which excludes women as love objects and forbids male homosexuality in the name of homophobia or homopanic. The secret of the analysand, John Marcher, ‘the beast in the Jungle’ might be explained as a hidden homosexuality, and the analyst, May Bartram functions as a veil or mask to hide John’s homoerotic desire safely in the closet and deflect it into heterosexuality. Through May’s analysis and interpretation of his symptoms, John’s narcissistic self-centrism, asexual morality, and belated awakening of life turns out to be male homopanic grounded on homosociality to deny male homosexuality in the hetero-normative society of the late 19th and early 20th century, as ‘The Beast in the Closet’ by Eve Kosofsky Sedgwick suggests. The gender fluid aspects based on transference and counter transference between John and May, the analysand and analyst can supply a new perspective to the short story’s disciplinary male homosociality embedded in heteronormativity and male homophobia. Gender fluid aspects between the hero and heroine can change the dichotomic gender stereotypes and coercive heteronormativity, rewriting the male homosocial bonds of the patriarchal morals and misogynic politics from gender dichotomy-free point of view. The gender fluid and non-dichotomic thoughts can open a new dimension of various genders and diverse sexualities. 이 논문은 헨리 제임스의 「정글의 야수」에 나타난 젠더와 욕망의 양상을 고찰했다. 특히 텍스 안에 부재하는 기표이자 존이 자신의 운명으로 생각하는 ‘정글 속 야수’가 금지된 은밀한 동성애 욕망이며, 이런 존의 욕망을 발견하고 가려주는 동인이 ‘가면’이자 ‘벽장’으로서 메이의 역할이라고 주장하고자 했다. 특히 이브 코소브스키 세지윅의 논의를 중심으로 이성애 문화 규범 속에 억압된 남성 동성애 욕망, 혹은 동성애 패닉을 읽어내려 했다. 자크 라캉의 ‘성차 공식’을 활용해 베일 혹은 가면으로서의 여성성을 논의하고, 정신분석학 상담실의 전이를 통해 두 사람 사이 이성애와 동성애의 경계 와해와 ‘젠더 플루이드’ 양상을 논의했다. 주인공 존 마처의 성적 자기 무지와 비결정성은 이성애 욕망의 실패이고, 비규범적 정체성을 도덕으로 조작하여 동성애 욕망을 은닉하려는 시도로 볼 수 있다. 존이 마지막에 자기 발견의 순간에 도달했을 때 자신의 정체성과 욕망을 인식하지만 규범의 규제 때문에 끝내 동성애 욕망을 인정하지 못하는 것은, 당대의 남성 동성사회성 규범이 남성 동성애 욕망을 금지했기 때문이다. 존은 무성적 유아론에서 욕망의 인정으로 나아간 것처럼 보이나 실은 정글 속 야수가 두려워 이성애에 머물고 동성애 욕망의 인정에 실패한다. 하지만 존과 메이의 관계에서 나타나는 전이와 역전이의 상호 교감과 상호 영향은, 젠더나 섹슈얼리티의 이분법의 와해되는 젠더 플루이드와 다가적 성욕 양상으로 연결되어 미래의 새로운 젠더와 섹슈얼리티의 가능성이 될 수 있다.

T. S. 엘리엇 시에 나타난 헨리 제임스의 영향:여인의 초상을 중심으로

한현숙 한국T.S.엘리엇학회 2005 T.S. 엘리엇 연구 Vol.15 No.2

This paper purports to read “Portrait of a Lady” in terms of Henry James’ influence. Unlike the influence of French Symbolist poets, H. James’s influence has not drawn many critical attentions. Eliot is greatly indebted to H. James in many ways. First of all, it is James from whom Eliot had learned that poetry ought to be as well written as prose. Also, as Eliot himself said, he was stimulated by the method to make a place real not descriptively but by something happening there and to let a situation, a relation, and an atmosphere give only what the writer wants in James’s stories. Under the inspiration of James, Eliot can cultivate his gift for dramatic verse. So, we can say the dramatic quality of Eliot’s poetry which is no less than in James’s stories, is not irrelevant to the Jamesian method. Considering such influence of James, this paper aims at comparing Eliot’s “Portrait of a Lady” and James’s The Portrait of a Lady and “The Beast in the Jungle”, in the light of the character’s failure and frustration. Especially, Eliot’s “Portrait of a Lady” and James’s “The Beast in the Jungle” portray a man who fails in having relations with a woman in common. In both of works, each man is distinctively selfish. We can investigate more concretely in what ways “the egotism of a man” is expressed and presented as a hindrance in human relations in both works.

『정글의 야수』의 라캉적 읽기

김지영(Kim Ji-young) 새한영어영문학회 2007 새한영어영문학 Vol. No.

Is a grafting of Henry James and Jacques Lacan a scandal in literary criticism? Despite increasingly articulated rebukes on a raw combination of a critical theory and a literary text since critical theories including post-structuralism took over academic sites, the reason to read a Jamesian story from a Lacanian point of view is that the latter serves as a bright pharos for the former to come to light. This paper tries to interpret some Jamesian leitmotifs-a hidden secret, resignation, belated regret, etc.-in terms of Lacanian concepts including Phallus, lack, alienation, separation, fantasy, and objet (a). In The Beast in the Jungle, which shows a typical Jamesian quest-for-the-secret plot and stimulates a heated discussion about what the beast means, I attempt to look at the beast in terms of objet (a) as the residue of symbolization, a last remainder of the hypothetical mother-child unity, and the Thing which resists symbolization. In doing so, I try to show the encounter between James and Lacan is not an uncomfortable coexistence but a creative zone which expands the horizon of literary criticism.