조이스의 파넬주의와 사회주의: 「파넬 추모일의 선거사무실」을 중심으로

민태운 ( Tae Un Min ) 한국제임스조이스학회 2008 제임스조이스저널 Vol.14 No.1

Joyce`s deep-rooted Parnellism is well known and his interest in socialism, especially during his writing of “Ivy Day in the Committee Room,” is undeniable, as evidenced by his letters and biographies. But the question can be raised on how these seemingly conflicting causes can coexist in Joyce`s mind, for there seems to be an unbridgeable gap between Irish middle-class nationalism and Irish labor. Unexpectedly, however, these two turn out to be reconciled with each other, as is illustrated by the story. This study refutes the argument that the socialist Joyce is irreconcilable with the Parnellite Joyce. In the story the Nationalists who claim Parnell``s mantle are contrasted with the dead leader in many ways; they are unworthy, venal, and ineffectual. Tierney, the nationalist candidate, is in particular presented unfavourably against the labor candidate, Colgan, one who reminds us of Connolly, who was the real socialist candidate against Nationalists in municipal elections and was also influential on Young Joyce. Tierney is under the Nationalist flag; however, he seems to be not against British imperialism and capitalism. Far from being a Parnellite, he is strongly supported by the anti-Parnellite Catholic clergy. The only true Parnellite in the story is Joe Hynes. Interestingly, he is a supporter for the labor candidate, not the nationalist who claims to be a Parnell`s successor. Here it is worth noting that Hynes is also suspected of being a Fenian and that Parnell, socialists, and Fenians share the common enemy, the Church. Joyce, being an anticlericalist, will surely belong to the same group as Hynes. Further, as Connolly asserted, the cause of Parnellite nationalism and that of socialism are the same. As his story demonstrates, Joyce shows that Parnellism can be reconciled with socialism, even though they might look like mutually cancelling alternatives.

“Make His Private Linen Public”: Rereading Finnegans Wake through Gossip and Echo

김경숙 한국제임스조이스학회 2019 제임스조이스저널 Vol.25 No.2

The eighth episode of Book I of Finnegans Wake consists of a series of gossips between two washerwomen, who gush out all the rumors about HCE(Humphrey Chimpden Earwicker) and ALP(Anna Livia Plurabelle). Here, HCE’s fall caused by gossips resembles Parnell’s downfall; HCE and ALP’s marriage allegorizes early colonial history of Ireland. Much like Shem who writes with his own excrement like ink, these washerwomen rewrite HCE and ALP’s stories and Irish history using the dirty water from their laundry. Their uncouth gossips provide alternative, unofficial history retold obliquely. In his earlier works, Joyce expresses his anxiety over English, the colonizer’s language, as the tool of his art. What Joyce does in Finnegans Wake is not imitation but echo. Echo does not seek for perfection. The language of Finnegans Wake is not English but the echo of English, which is amputated, fragmented, and hybridized. It does not permit any space for cultural hegemony or power of the British Empire. Much like echo, gossips also disrupt the authority and authenticity of official historiography. In case of Parnell, gossip played a huge role in his downfall. Gossips can be an alternative vehicle to shape and reshape history/historiography. In a word, this essay aims at rereading the washerwomen’s gossips about HCE and ALP as an alternative historiography. To conclude, gossips exercise a centrifugal force to spread out alternative, heterogeneous, versions of official historiography, which wields a centripetal force to assimilate various voices into a homogeneous version.

“Make His Private Linen Public”: Rereading Finnegans Wake through Gossip and Echo

( Kyoungsook Kim ) 한국제임스조이스학회 2019 제임스조이스저널 Vol.25 No.2

The eighth episode of Book I of Finnegans Wake consists of a series of gossips between two washerwomen, who gush out all the rumors about HCE(Humphrey Chimpden Earwicker) and ALP(Anna Livia Plurabelle). Here, HCE’s fall caused by gossips resembles Parnell’s downfall; HCE and ALP’s marriage allegorizes early colonial history of Ireland. Much like Shem who writes with his own excrement like ink, these washerwomen rewrite HCE and ALP’s stories and Irish history using the dirty water from their laundry. Their uncouth gossips provide alternative, unofficial history retold obliquely. In his earlier works, Joyce expresses his anxiety over English, the colonizer’s language, as the tool of his art. What Joyce does in Finnegans Wake is not imitation but echo. Echo does not seek for perfection. The language of Finnegans Wake is not English but the echo of English, which is amputated, fragmented, and hybridized. It does not permit any space for cultural hegemony or power of the British Empire. Much like echo, gossips also disrupt the authority and authenticity of official historiography. In case of Parnell, gossip played a huge role in his downfall. Gossips can be an alternative vehicle to shape and reshape history/historiography. In a word, this essay aims at rereading the washerwomen’s gossips about HCE and ALP as an alternative historiography. To conclude, gossips exercise a centrifugal force to spread out alternative, heterogeneous, versions of official historiography, which wields a centripetal force to assimilate various voices into a homogeneous version.

예술가로서의 조이스와 가톨리시즘

박윤기 ( Yun Ki Park ) 한국제임스조이스학회 2010 제임스조이스저널 Vol.16 No.1

Was James Joyce a Catholic, or not? This question is not easy to answer because he had never expressed his position on the matter during his life. Joyce was taught to accept religious instruction and to fulfill the religious duties at Clongowes Wood College. He was sent to Belvedere College when he was 11 years old and after 2 years was elected director of the Sodality of the Blessed Virgin. Joyce was, so to speak, immersed in a deeply religious atmosphere in his early school life. Despite this, he remained an object of suspicion to his Jesuit teachers. As a result, he had lost his faith of his boyhood on Catholicism when he grew up. Another factor in Joyce`s loss of faith was the strong anti-clericalism of his father when the Irish Catholic clergy spoke out against Parnell. And the other factor that drew him further away from the Catholic Church was his inclination to be subject to his own impulse. He wanted sex, and he thought that it was an essential experience to conduct an experiment in living, as Stanislaus called it. And if he wanted to become a complete artist he had to complete his experience. By this time his faith was seriously in crisis. By rejecting the Church, he was free to develop a spirituality that was essence for an experienced artist. Joyce`s mood of religious conviction, in short, gave way to an increasing enthusiasm for modern literature. Though he had maintained an interest in the Church`s liturgy in his life, Joyce was not a faithful member of Catholic Church.

희생 제의와 내밀한 질서로의 비전 -W. B. 예이츠와 죠르주 바타이유

윤일환 한국예이츠학회 2006 한국예이츠 저널 Vol.25 No.-

William Butler Yeats in his poetry consistently and repeatedly alludes to an ancient sacrificial ritual and the imitations of ritual techniques through words and rhythms. For him, the ritual enacts an inner vision of permanent beauty and harmony and enables us to participate in the transcendental experience of a rite. It is a kind of fundamental glue in the society for the maintenance of social structure; through the sacrifice of the victims are social bonds created and individuals joined. We may get a new meaning of the ritual sacrifice if read in Georges Bataille's perspective. While classical economic thought emphasized the need for an efficient utilization of resources to fight the ravages of the scarcity of economic resources, Bataille analyzes economic history in terms of the expenditure of excess energy and production. It is within this general economic context that Bataille begins an explication of the expenditure which first of all fundamentally is related to the sacrificial ritual. Symbolically, the victim, the one who offers the sacrifice, and its participants are all seen as removed from the demands of utility and consequently as possibly a sovereign subject. An immense symbolic tie was created between the victim of the sacrifice and those for whom the victim was a substitute. They enter the realm of the sacred, of the free subject who is not subordinated to the demands of useful production. Sacrifice is the means of dissolution, of ceasing to be separate individuals caused by the demands of utility. Like Bataille, Yeats often clearly sees and evokes the effects of sacrifice to ensure symbolize the transcendental vision of whole beyond ordinary experience or expression. He inclines to consider the sacrificial ritual as the ultimate act of transcendence over the anarchy of world, civil, and personal conflict. In Two Songs From a Play, it is revealed that the ritual is fed by the resinous heart of man, who enacts his awareness of death and his yearning for rebirth in his identification with the risen god. In the second section of Vacillation, Yeats also presents a ritual ceremony in which Attis' image is hung between the two parts, uniting death with eternal life, assuring immortality. He who performs this rite May know not what he knows but knows not grief. In Parnell's Funeral, where he associates the dead Parnell with an ancient god, Yeats evokes the rite to exalt the hero only to exposes the extremity of the need for godlike qualities and the impossibility of fulfilling this need in a barbaric time. It does not allow for the kind of expression of personal power and subjecthood found in the sacrifice.

『젊은 예술가의 초상』: 근대와 육체, 그리고 아퀴나스의 감정론

김상욱 ( Sangwook Kim ) 한국현대영미소설학회 2020 현대영미소설 Vol.27 No.2

This paper illuminates the way in which James Joyce sees bodily appetite as a human reality contradicting Irish Catholic asceticism in A Portrait of the Artist as a Young Man. At the turn of the century, Dublin was propelled by the culture of commodity whose phantasmagoric nature accounts for Stephen’s enchanting liaison with a prostitute and the rise of sensation novels. Stephen’s guilty but pleasurable enchantment with a female body can be seen as an irresistible power of physical desire, the anti-religious internal drive of which signaled Charles Stuart Parnell’s historical adultery with Katharine O’Shea. This paper particularly explores Joyce’s idea of aesthetic emotions as the psycho-social dialectic of affect, which mediates between conventionalized emotions and non-conventional physical sensations. Thomas Aquinas’s account of irascible passions is seen as the affect of spiritual bodiliness in Joyce’s view of jealousy not as a hate for the other but as the medium for a good as higher pleasure in adultery. This paper further argues that Joyce’s emotional aestheticism, which is transformatively borrowed from Aquinas’s aesthetics, is an endorsement of bodily emotions against Irish Catholic oppression of physical desire.

Yeats and the Mythopoeia of Parnell (for the late Professor Daniel Albright)

Nicholas Grene 한국예이츠학회 2015 한국예이츠 저널 Vol.46 No.-

파넬은 예이츠의 상상체계에서 주요 인물이었다. 파넬의 죽음은 중요한 역사적 사건이며, 그의 추종자들과 고국이 그를 버린 것은 주요 수사이며, 차가움으로 위장된 그의 열정적 성격은 『환상록』에서 예시한 이상적 시인상이다. 그러나 시들을 통해서 그의 모습은 계속 변한다. 한때는, 「슬퍼하라 그리고 전진하라」에서 그는 약속의 땅을 눈앞에 두고 죽어가는 구세주의적 지도자이다. 다른 때는 (「쉐이드를 향해서」) 그 귀족은 군중에게 무시당한다. 「파넬의 장례식」에서 그는 자신의 가슴을 파먹는 의식으로 희생되었을 원형적 죽은 왕이지만, 내 주변에 파넬 옹호자들을 모으라 에서의 파넬은 이 사람들의 모임에서 늙어가는 추종자들이 찬양하는 열정적 애국자이다. 마지막으로 「파넬」에서 그는 다가오는 혁명이 실패할 것을 내다보는 선지자이다. 예이츠적 상상체계에서는, 하나의 아이콘이기보다는 예이츠의 손에 의해 파넬은 예이츠 시가 원하는 인물이 된다. Parnell was a major figure in Yeats’s imaginative scheme of things. His death was a key historical event, his rejection and betrayal by his followers and countrymen a dominant trope, his character of passion masked by coldness some sort of ideal for the poet as illustrated in A Vision. Yet through the poems his shape keeps shifting. At one point in “Mourn and Then Onward!” he is the messianic leader dying within sight of the Promised Land, at another the aristocrat unappreciated by the mob (“To a Shade”); in “Parnell’s Funeral” he is the archtetypal dead king who should have been ritually sacrificed by the eating of his heart, but the Parnell of “Come Gather Round Me Parnellites” is the amorous patriot celebrated by his ageing followers in their men’s club. Finally in “Parnell” he is the prophet who piercingly saw the failure of the revolution to come. Rather than a single icon, defined within a Yeatsian scheme of things, under the poet’s hand Parnell becomes the figure that the poems need him to be.

「파넬 추모일의 선거사무실」에서 파넬과 피닉스와의 관계

심상욱 ( Sang Wook Shim ) 세계문학비교학회 ( 구 한국세계문학비교학회 ) 2010 世界文學比較硏究 Vol.30 No.-

블룸의 욕망 추구를 통한 조이스의 아일랜드 성도덕 비판

김은혜 ( Eunhey Kim ) 한국제임스조이스학회 2016 제임스조이스저널 Vol.22 No.2

Nationalism, the Social Purity Movement, and the Church have a long history of influencing sexuality in Ireland. Joyce criticizes these oppressive forces on sexuality by using Bloom, the cuckold, who is suffering from sexual frustration and trying to overcome it. Bloom has not slept with his wife, Molly, for ten years following the death of their son, and she is about to satisfy her sexual desire with Boylan. Joyce focuses on Bloom`s frustration, because the ways in which he deals with his frustration can be viewed as a form of resistance against Irish society, which overemphasizes purity and fidelity. Bloom values sexual desire as an essential tool for life. He masturbates to fulfill his sexual desire, which can be a challenge to Christian tradition. Furthermore, he does not punish Molly for her adultery, but treats her with generosity. After getting inspiration from the case of Parnell and O`Shea, he realizes that real love is to step back to allow another person`s desire. By doing so, unlike the Catholic church which brought down Parnell by reason of morality, Bloom seems to demonstrate that human sexuality is not sinful but natural. In this way, Joyce not only reveals the narrow-minded views of Irish society, but criticizes the various kinds of oppressive force which suppress valuable sexual desire in Ireland.

제임스 조이스(James Joyce)와 사랑

최병갑(Choi Byeong-Kap) 대구대학교 인문과학연구소 2011 人文科學硏究 Vol.36 No.-

James Joyce was a self-willed Irish writer while his country was under the reign of the British. Ironically, his major works, nevertheless, adopts Ireland and its capital city, Dublin as the backgrounds and themes of his works coherently. It can be assumed that this paradox is derived from his deep affection for his mother land. In this vein, James Joyce should not be denounced as having been obsessed with developing his own literary techniques isolating himself from contemporary social realities. Before leaving his country, Joyce concluded that the Irish nationalism has already lost the cultural and political energy which could bind his country and his countrymen together. In fact, the Irish Catholic were the most influential in leading the Irish into the political independence from the British colonialism. The Catholic leaders, however, failed to show their leadership because of their narrowness and excessive interference with the Irish politics and this tragic aftermath deterred the independence of Ireland. Joyce diagnosed his contemporary cultural and political energy as not integrated but disintegrated one. Joyce did not lost his interest in the political situations of his country during his stay in Europe. His consistent attachment to his country should be thought of as the direct expression of love for his country. Joyce's personas facing up to their reality were incessantly engaged In the affairs concerning Ireland and the Irish. These characters' beliefs and expressions correspond with those of Joyce's. They must be the surrogates of Joyce and therefore we should read Joyce as a realist writer who reveals his true affections which underlies through major works.