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브라운부인의 『시간들』: 마이클 커닝햄이 재현한 『댈러웨이 부인』
김희선 ( Hee Sun Kim ) 한국영미문화학회 2013 영미문화 Vol.13 No.1
Patricia Waugh once regarded modernism fiction as ``the struggle for personal autonomy`` against the opposition existing social institutions and conventions. Michael Cunningham`s characterizations of Virginia Woolf and Septimus in The Hours show the two contrasting reactions to individual alienation and mental dissolution in the modern era. As the personifications of endurance and self-destruction against the mechanical power of contemporary world, Woolf and Septimus consist of just the world of diptych where the woman`s role is confined to the angel in the house. By creating Mrs. Brown based upon his own alienated mother image, however, Cunningham succeeds in representing the more dramatically vivid world of triptych where woman can have her own room and self-realization despite still facing the dilemma of the traditional family. Accepting Joycean Bloom`s optimistic and relaxing way of life in part, Mrs. Brown connects the labyrinths between the author`s (and also Richard`s) alienation with the theme of celebration of the life. Clarissa in postmodern New York setting is still a concealed and mystified character. Similar to Mrs. Dalloway, on the one hand Clarissa watches other people`s tragedy with compassion. Cunningham`s Clarissa, on the other hand, is no longer seeking for either winning or defeat in the spectacular world unlike her predecessors. In many resilient attitudes of everyday life Clarissa is closest to Mrs. Brown whom Virginia Woolf originally hopes to describe. Without any fear or rage toward the society Clarissa witnesses and achieves “the humanity, humour, depth” of female values by successfully turning the trivial life into an epic journey.
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이찬행 ( Lee Chanhaeng ) 영미문학연구회 2020 안과 밖 Vol.0 No.49
The purpose of this essay is to examine why a number of blacks have been killed by police in the United States. The author maintains that police brutality should be understood not as the result of individual deviation but as the outcome of hierarchical racial structure by examining the 2014 death of Michael Brown in Ferguson, Missouri and the 2020 horrific choking death of George Floyd in Minneapolis. After the 1970s, Ferguson, a once-vanilla suburb in which white Americans were the majority population group, was turned into a chocolate suburb where the majority of residents were blacks. Nevertheless, the white Americans still retained almost all of the city’s power. The shooting and killing of an unarmed teenager named Brown was the inevitable tragedy caused by the racial conflicts between the chocolate suburb and vanilla power. In 2020, Floyd, a 46-year-old black, was murdered by a white police officer in Minneapolis. The city of lakes has been considered one of the most progressive cities in the United States. However, the city failed to put a ban on the use of excessive force by police officers. Floyd was victimized by Minneapolis police officers who became a group of beasts out of control.
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반유대주의와 《요한수난곡》의 군중합창 - 요한과 루터를 중심으로
이가영 연세대학교 음악연구소 2018 음악이론포럼 Vol.25 No.1
This study explores the notion, anti-Judaism and its relation to J. S. Bach’s John Passion. In order to examine if the notion is portrayed in the composition, this study reviews the passion narrative found John’s Gospel, in particular, the expression of the Jews and its use and function within the Gospel. Furthermore, this study investigates Luther’s writings to see his definition of the Jews. After re-reading those theological literatures, I will point out that the meaning of the Jews found in those writings can be said to be ambiguous and equivocal, arguing that it is less likely that the John’s Gospel and Luther’s writings capture the notion of anti-Judaism, emphasizing that Bach’s composition does not seem to embody the notion in his composition either.
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