조셉 콘래드의 『하루만 더 기다리면』 각색에서 부각되는 여성의 모습

손나경 영남대학교 인문과학연구소 2020 人文硏究 Vol.- No.90

This study examines the characteristics of Joseph Conrad’ adaptations by comparing One Day More, his first adaptation, with its original text, “Tomorrow.” Most of Conrad’s early works were focused on the narratives of male characters. However, his plays centered around the female characters, as illustrated in One Day More. Joseph Conrad, well known as the novelist writing on the male sailors’ stories, describes the female characters’ stories in his late works. His plays, including One Day More, are adaptations of Conrad’s female characters’stories. This study first discusses the features of Conrad’s three plays; the women, who are minor characters in the original texts, stand out prominently with loud voices in the adaptations; this change is shown in his first adaptation, One Day More. Second, this study explains the melodramatic features of the play and their subversion. One Day More and its original text, “Tomorrow” start with a melodramatic anticipation of a typical love story, but they end with the subversion of this anticipation. Lastly, this study discusses how the female-centered structure of One Day More can be caused by the differences between novel writing and play writing, especially by the absence of narrators who act as a male voice. 본 논문은 조셉 콘래드의 첫 희곡작품 『하루만 더 기다리면』을 원작인 단편 「내일」과 함께 비교하며 콘래드 희곡각색의 특색을 살펴보았다. 콘래드의 초기 작품들은 남성을 중심으로 한 남성적 서사가 대부분이었다. 그런데 그가 희곡으로 각색한 작품들은 여성인물이 중심이 되며, 『하루만 더 기다리면』은 그런 콘래드의 희곡적 특성을 잘 보여주는 작품이기도 하다. 본 연구에서는 먼저 콘래드의 희곡이 가지고 있는 여성 중심적 특성에 대해 논하고, 이어서 그의 첫 희곡인 『하루만 더 기다리면』이 연극화된 배경과 이 작품이 각색되면서 여성인물이 어떻게 더 부각되는가를 살펴보았다. 특히 멜로드라마적인 요소를 차용하면서 동시에 그런 요소들을 전복하고, 수동적인 여성인물에게 적극적인 성격을 부여하고, 원작의 서술자를 없애는 대신 여성인물을 중심으로 다른 인물들을 재배치한 그의 희극적 특성을 살펴보았다.

“T. S. 엘리엇은…제국주의자였다”—엘리엇의 키플링과 콘래드 읽기

권승혁 한국T.S.엘리엇학회 2020 T.S. 엘리엇 연구 Vol.30 No.1

본 연구는 엘리엇의 제국이 언제나 “이상”이었다는 커모드나 마샬의 주장과는 달리, 엘리엇의 제국은 “현실”이었음을 증명하기 위해, 엘리엇이 중요하게 여긴 두 명의 작가, 러디어드 키플링과 조셉 콘래드에 대한 그의 평가를 살펴보고자 한다. 키플링은 엘리엇이 평생 좋아했던 작가였으며, 콘래드는 『황무지』와 「텅 빈 사람들」의 제사를 제공했던 작가였다. 엘리엇은 이 두 작가가 제국주의에 대해 다른 입장을 갖고 있었다는 것을 잘 알고 있었다. 젊은 시절의 엘리엇은, 제국주의와는 전혀 관계없이, 두 작가를 문학의 잣대로만 평가를 했다. 그는 키플링을 가까스로 위대한 작가로, 콘래드를 위대한 소설가라고 평가했다. 그러나 노년의 엘리엇은 반제국주의자였던 콘래드에 대해서 거의 언급하지 않았으나, 제국주의자였던 키플링의 시 선집을 출판하고, 그를 옹호하는 글을 썼다. 그리고 이 글에서 엘리엇은 키플링이 대영제국에 대해 취한 입장의 의미와 의의를 자세히 설명하고 있다. 위 사실에 근거하여, 본 연구는 엘리엇이 제국주의에 대해 상반된 입장을 취한 키플링과 콘래드를 어떻게 이해했는지, 그가 두 작가와 제국주의에 대한 평가가 어떻게 변했는지 살펴보고, 그 의미와 의의를 살펴보고자 한다.

Light in Darkness: Heroism in Joseph Conrad’s The Secret Agent

김성렬 한국영미어문학회 2024 영미어문학 Vol.- No.153

이 논문은 조셉 콘래드의 소설 “비밀 요원 (1907)” 속에서 발견되는 영웅을 해설한다. 영웅의 관점으로 인물을 분석한다는 주제는 스티비를 제외하면 기존에 거의 논의되지 않았다. 사회심리학자인 필립 짐바르도가 설명한 영웅 개념을 이용하면 “비밀 요원” 속 등장인물들의 영웅주의는 두드러진다. 이 논문에서는 스티비, 위니, 그들의 모친을 분석한다. 위니의 모친에게 발견되는 영웅주의는 반어적 화자가 알아차리고 강조하고 거의 존경하기까지 하는 바, 그녀의 희생으로 구성된다. 대부분 조롱당하거나, 기껏해야 한심하다고 간주되던 위니 캐릭터를 영웅적 필터로 검증하면 그녀의 위엄이 회복될 수 있다. 특히 짐바르도가 제공한 영웅적 렌즈로 스티비를 보면 그의 영웅적 지위는 재차 확인되며 분명해진다. 영웅주의가 순환에 실패하였으므로, 짐바르도의 표현대로 “우리 혈관에 善함의 생명력이 흐르듯”, 이들 세 사람의 희생으로 “괴물 도시” 런던의 암흑은 밝아졌으나 이는 한시적이었다. This article examines the heroes/heroines to be found in Joseph Conrad’s The Secret Agent (1907), a subject that has been rarely discussed, with the exception of Stevie. The heroism of the characters is brought into relief by the use of the social psychologist Philip Zimbardo’s account of heroes. The three heroes discussed are Stevie, Winnie, and their mother. Winnie’s mother’s heroism is constituted by her sacrifice, which even the ironic narrator recognizes, emphasizes, and perhaps admires. Examining Winnie through a heroic filter restores a sense of dignity to a character who has mostly been ridiculed and considered, at best, pathetic. Viewing Stevie through a heroic lens, offered especially by Zimbardo, reaffirms and clarifies his heroic status. By their sacrifices, they illuminate the darkness of London, that “monstrous town,” if only temporarily, for they fail to circulate, in Zimbardo’s words, “the life force of goodness in our veins.”

언어의 자기기만과 혁명의 자기곤경: 『서구인의 눈으로』와 콘래드적 아이러니의 성취

김현아 한국중앙영어영문학회 2013 영어영문학연구 Vol.55 No.2

This thesis aims to analyse Joseph Conrad's Under Western Eyes, focusing that this text reveals both revolutionist’s contradiction obsessed with ideology and absolutist’s corruption trapped in indolence and rigidity in Russia with the rhetorics of the author’s unique irony. Under Western Eyes written in 1911, is considered to be one of Conrad’s major works and emphasizes conflict, deception, and betrayal about the historical failures of revolutionary ideals. Throughout developing this course, Conrad informs us how much self-deception of language and self-predicament of revolution exist everywhere in life, comparing various revolutionists taking charge of revolutional duty with ambiguous English narrator depicting tyrannical Russian revolutionists. This novel, furthermore explores that every truth already contains absurdity of self-predicament and self-hypocrisy through this novel’s all sorts of characters, including an anonymous English narrator. Among them, it is main character, Razumov that is caught in dilemma, and has troubles and difficulties between a contradictory doctrine and autocracy. In the course of unfolding views and ideals of Razumov who is placed in complicated conditions that suspected of betrayer afterwards, an old teacher of languages, the narrator confesses the limit languages have. This is also an important subject conrad wanted to emphasize enthusiastically, related with language and representation. Eventually, Razumov’s torment caused by his betrayal is fortunately developed into profound inner awakening. Throughout this course of main character, Razumov’s disillusion reminds us that Under Western Eyes quests human’s real nature, the problem of morality and ideology. It is estimated that this is a main theme Conrad intended to depict ultimately.

이동하는 주체와 연대의 가능성

이효석(Lee, Hyo-Seok) 원광대학교 인문학연구소 2015 열린정신 인문학연구 Vol.16 No.1

The Breakdown of Space and Place: Conrad`s Nihilism in The Secret Agent

( Sungjin Jang ) 한국근대영미소설학회 2017 근대 영미소설 Vol.24 No.1

“The breakdown of Space and Place: Conrad`s Nihilism in The Secret Agent” argues that Conrad`s nihilism derives from the collapse of the distinction between space and place. The result of this breakdown is seen in how London is both familiar and foreign, in how Verloc`s home and shop are one building, and in how the Italian restaurant all counter readerly expectations by either distorting the typical place or outright altering the usual place assigned to those spaces. In this London, the characters show how the labyrinth and maze metaphors are used to try and make an unmappable city mappable in order to find their identities. Winnie, who is the prime example of how a character employs the labyrinth, tries to make Verloc`s home-shop an ideal Victorian home. To Winnie, the home is the only path towards her identity of mother. Verloc, however, uses the maze to move sideways through various pathways, thus maintaining multiple identities. The Professor, unlike both Winnie and Verloc, refuses to read the city, embracing Conrad`s nihilism. Because of these various reactions to an illegible London, it appears that Conrad himself is looking on the separation of space and place with terror, which he then transfers to the different characters.

서술 전략의 전환-「진보의 전초기지」에서 『어둠의 핵심』으로

이만식 ( Man Sik Lee ) 한국영어영문학회 2011 영어 영문학 Vol.57 No.4

Even though "An Outpost of Progress" and Heart of Darkness were based upon Joseph Conrad the sailor`s same experience in Congo Free State, their narrative strategies are quite different. The realistic representation of "An Outpost of Progress," with which Conrad was not satisfied at all, was converted into the modernistic narrative strategy of Heart of Darkness so that the sympathetic power of the story should be improved. The conservative value system of realism is expressed by the omniscient author in "An Outpost of Progress," whereas the frame narrator of Heart of Darkness is proved to be an unreliable one whose norms and behavior are not in accordance with the implied author. The glorious history of the British Empire, which was proudly presented by the frame narrator at the beginning of Heart of Darkness, was strongly opposed by Marlow, another narrator, who said that the British Empire had been "one of the dark places of the earth" when ruled by the Roman Empire. The feeling of the frame narrator was uneasily changed into the gloomy mood when he described the Thames as the flow which "seemed to lead into the heart of an immense darkness" at the end of Heart of Darkness. Similar to the straightforward narrative strategy of representation in "An Outpost of Progress," the realistic approach of Part I in Heart of Darkness is considered by Conrad as insufficient to reveal the darkest truth of imperialism, which was declared by Kurtz as "The Horror! The Horror!" Thus Conrad uses the Chinese-box structure, in which Kurtz` episode is enveloped by Marlow`s tale which is enclosed by the frame narrator`s story, in order to penetrate into the mind of ordinary readers in the novelist`s age of New Colonialism, while attacking the ideology itself of imperialism instead of critisizing its inefficiency and individualism.

제국주의와 근대국가 건설의 문제

김종갑,정규환,최은주,문상화,마렉잘레스키,크리슈나센,전세재,피터나자레쓰,강옥선,여홍상,이만식 19세기영어권문학회 2005 19세기 영어권 문학 Vol.9 No.3

소설과 시와 영화텍스트의 연계성―『암흑의 오지』와 「텅 빈 사람들」 및『지옥의 묵시록』을 중심으로

최영승 한국T.S.엘리엇학회 2007 T.S. 엘리엇 연구 Vol.17 No.1

This study aims at showing how T. S. Eliot’s “The Hollow Men” intervenes in Francis Coppola’s Apocalypse Now, the film version of Joseph Conrad’s Heart of Darkness. Eliot’s poem, which quotes from Conrad’s novel, functions as a kind of catalyst in his film, enabling Conrad to strongly express his message. The film is recreated from its source novel, alluding to Eliot’s poetic lines, whereas in Eliot’s poem Conrad’s lines serve as an epigraph. In this respect, the three works interlock in the process of the reproduction, forming a perfect bridge from literary canon to popular culture. A close comparison of the three works makes it possible to see how the literary text can be reproduced in a popular film, a reproduction transgressing the boundaries of genre, deconstructing binary oppositions between high literature and low culture. In conclusion, Eliot’s poem shows the textual values of interventions that accept and promote literary evolution in the process of transformation from logocentric verbal text to visual text with images and sounds. In addition, the boundary between literary canon and popular cultural text disappears.

“Honourable Disaster”: Conrad and Nostalgic Militarism in “The Lagoon” and “Karain: A Memory”

( Matthew Herzog ) 한국근대영미소설학회 2021 근대 영미소설 Vol.28 No.2

Joseph Conrad’s Malay short fiction has been rightly criticized for the way that it constructs orientalist discourses about non-European characters. This article, however, deals with a different side of the workings of ideology: not ideological mystification, but rather ideological projection. I argue that Conrad’s conservative criticisms of modernity led him to posit through his fiction that what was being lost in the West could be found again in the East. Specifically, I bring together Conrad’s critiques of modernity in his non-fiction with two of his short stories, “Karain: A Memory” and “The Lagoon,” to focus on the military values and notions of masculine “honour” that Conrad sought to maintain through his non-European characters. In doing so, I bring out the investments that Western romantic conservatives like Conrad had in the creation of non-European characters and argue that these characters do not only serve the ends of orientalism, but also function as a site for propagating nostalgic militarism.