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- 주제어 : Sam Selvon (검색결과 4 건)
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원드러쉬 세대화, 집, 의 정치학-샘 셀본의 『모세 출세하다』와 『모세 이주이다』
이정화 ( Jung Hwa Lee ) 21세기영어영문학회 2014 영어영문학21 Vol.27 No.2
Responding to Kureishi`s call for ``a fresh way of seeing Britain,`` this essay analyzes the reconceptualization of home(land) by the Windrush generation in Sam selvon`s Moses Aseending (1975) and Moses Migrating (1983). Moses, narrator and protagonist both novels, is a whitewashed black immigrant from Trinidad, who has come to London in the 1950s like many other West Indian immigrants Known as the windrush generation. Moses Ascending begins as a success story of a black immigrant who becomes a landiord of a dilapidated London house, ensconces himself in the highest fiat, and hires a white man Friday as a servant. As the story unfolds, however, Moses`s house becomes a site where hierarchical binaries of white vs. black, master vs. servant, landlord vs. tenant, and native vs. immigrant are collapsed through a series of ``comic reversals.`` The ongoing reorganization of Moses` s house questions the racist logic behind post-1962 immigration policies and racial attacks on black immigrants. Furthermore, in Moses Migrating set in Ttinidad during the Carnical season Selvon satirizes Moses`s misled identification with the `mother country` and mocks the idea of Keeping Britain white,Read together, Moses Ascending and Moses Migrating challenge the narrow and inaccurate definition of Britain as white people`s home(land).
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1950년대 런던의 흑인 도시 산책자: 샘 셀본의 『외로운 런던인들』
이정화 ( Jung Hwa Lee ) 한국현대영미소설학회 2011 현대영미소설 Vol.18 No.3
Sam Selvon`s The Lonely Londoners (1956) is a tragicomic depiction of predominantly male West Indian immigrants in the 1950s who have come to London for employment only to find themselves struggling for jobs and lodging. In order to better understand their ambivalent relationship with the city of London, this essay focuses on the figure of the black flaneur, broadening and complicating the traditional (white) flaneur conceptualized by Baudelaire and Benjamin. A dandy and the flaneur, Galahad in The Lonely Londoners revels in strolling, while observing kaleidoscopic spectacles of the metropolis and looking for white women for one-night stands. Although he feels triumphant and empowered on the street, his flanerie demonstrates the anxiety and the envy of black men as byproducts of racial exclusivity. The urban exploration of black men in The Lonely Londoners is conspicuously masculine and even predatory, entailing verbal aggression against white women. Their predatory masculinity is a self-defensive response to the symbolic castration that racism and colonialism have inflicted upon them. Thus, black men`s flanerie in The Lonely Londoners brings to the fore their ambivalent position in London; they become observers of the metropolis while being observed as a spectacle of mid-twentieth century London as well as womanizers who have been racially castrated.
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Calypso Music and Postcolonial Masculinity in Sam Selvon’s The Lonely Londoners
김명성(Myungsung Kim) 한국외국어대학교 영미연구소 2021 영미연구 Vol.53 No.-
본 논문은 샘 셀본의 『외로운 런던인들』 속 흑인 남성 이주민들의 남성성을 연구한다. 인종과 성의 관계가 복잡한 차원에서 맺어지는 이 소설은 흑인 남성성이 백인 여성들과의 관계에서 변화하고 수정됨을 보여주는데, 런던이라는 공간에서 맺어지는 사회적 관계에서 백인 여성들과의 성적 관계는 흑인 이주민 남성들에게 있어서 주류 문화로 진입하기 위한 하나의 방편이 된다. 특히 소설의 전체적인 외형이 트리니다드의 전통적인 음악 장르인 칼립소를 따라 구성되고 있다는 점을 고려하면 소설 속에 드러나는 인종적, 성적 역학관계는 더욱 흥미롭다. 트리니다드의 남성중심적 전통문화에서 칼립소는 가부장적 이성애를 찬미하고 동성애를 혐오하는 전통적 남성성이 문화의 중심인데, 이런 의미에서 본다면 『외로운 런던인들』이 보여주는 칼립소와 런던의 조합은 전후 런던이라는 공간에서 사회적으로 거세당한 흑인 남성들의 남성성 회복이 상징적으로 이루어지는 모순적 양상을 보여준다고 볼 수 있다. This article explores the masculine construction of West Indian immigrants in Sam Selvon’s The Lonely Londoners. Selvon represents the cross-racial relationship between the black male immigrants and the white British women in the novel in ways that illuminate the interlocking space in which black masculinity is revised and negotiated. The protagonists’ masculine struggle shows highly complex dimensions of the cross-racial gender economy; sexual relations become an anticolonial struggle to reach the mainstream British culture, and this sexual self-assertion of the black male protagonists interrupts British culture’s hegemonic power. Moreover, the sexual quest in the novel becomes even more interesting, given the structural presence of Calypso, an Afro-Caribbean music genre in colonial Trinidad. The Lonely Londoners consists of various ballads that imitate the structure of calypso music. As the calypso symbolizes hegemonic misogyny and homophobia in the male-centered Trinidadian culture, the allusion of calypso music reflects phallic and homophobic self-affirmation against social castration. This reading, placing black men’s sexual quest toward white women in the context of the Trinidadian calypso tradition, explains the contradictory self-construction of black male immigrants in The Lonely Londoners; by alluding to the vernacular folk tradition and thus by contextualizing the social standings of ethnic minorities in multicultural London within the patriarchal culture of the West Indies, the novel explores the intersection wherein the mythic postcolonial black masculinity becomes visible.
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이승호(Lee, Seung Ho),오은영(Oh, Eunyoung) 한국외국어대학교 영미연구소 2013 영미연구 Vol.29 No.-
Although the recent diaspora discourses tend to read diasporic experience as a creative catalyst for a new hybrid culture rather than a forced separation between a human being and a native place, the displaced people are still tied up with the places where they lived. By focusing on their relationship between the immigrants and the places, this paper aims to explore the way in which Selvon's The Lonely Londoners remaps, reimagines, and reterritorializes London. Selvon seems to find the driving force to remap the city from his Caribbean working-class immigrants who belong to the Caribbean folk culture, not the Westernized middle-class culture. The novel sketches a variety of episodes that describe how the characters are struggling to settle down in the city, and also how some parts of London such as the Piccadilly Circus and the Harrow Road are Caribbeanized by the immigrants' way of behaving. This paper will reveal that through Caribbean immigrant's own cultural heritage from their home ranging from Carnival, Calypso, and "a Caribbean dialect" to even eating pigeons and spreading a credit business in a neighborhood, Selvon's Londoners can slowly but gradually transform an inhospitable and hostile space into a familiar and habitable place which they can claim as their second home.
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