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Journal of English Studies in Korea

  • : 영미문학연구회
  • : 어문학분야  >  영문학
  • : KCI등재
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  • : 반년간
  • : 1976-197X
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수록정보
수록범위 : 1권0호(2001)~37권0호(2019) |수록논문 수 : 269
영미문학연구
37권0호(2019년 12월) 수록논문
최근 권호 논문
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KCI등재

1오스카 와일드와 빅토리아 시대의 남성성

저자 : 김순배 ( Soonbae Kim )

발행기관 : 영미문학연구회 간행물 : 영미문학연구 37권 0호 발행 연도 : 2019 페이지 : pp. 5-42 (38 pages)

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This study investigates the scope and sphere of the Victorian masculinity in terms of Oscar Wilde and his sexual identity as a man. When Wilde was convicted and sentenced to two years in jail with hard labor for committing the act of 'gross indecency' in 1895, the legal court of Old Baily shrewdly designed its narrative strategy of making a seemingly viable connection between the inappropriate act and Wilde's sexual identity. As a result of the trial, most of the literary discourse with regard to Wilde and his literature has channeled onto the notion of homosexuality since then. In other words, the 'legal' or 'lawful' narrative has been dominating and delimiting the Wildean study even though it retains a certain logical fallacy in and of itself just as Laura Appleman argues in her judicial analysis. With my cultural and critical study of the Victorian masculinity, I hereby try to uncover the genuine spectrum of Wilde's sexuality as a man. In so doing, I analyze how Wilde was eager to establish the notion of 'new man' and thereby counterculture in the Victorian fin de siècle.

KCI등재

2밀턴의 펑크화: 개리 팬터의 『낙원의 쏭이』와 존 밀턴의 『복낙원』을 중심으로

저자 : 김혜연 ( Haeyeon Kim )

발행기관 : 영미문학연구회 간행물 : 영미문학연구 37권 0호 발행 연도 : 2019 페이지 : pp. 43-65 (23 pages)

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The purpose of the study is to analyze how Milton's Paradise Regained is re-created in Panter's Punk comics, Songy of Paradise. Panter was a successive LA punk artist who won three Emmy awards for his set designs for “Pee-Wee's Playhouse,” and was one of the artists honored in the exhibition “Masters of American Comics” at the Jewish Museum. In 2017, he publishes Songy of Paradise radically revising Paradise Regained into a Punk style. Panter's work reflects rebellious spirit of the Punk, which three slogans of the Punk show: “up-from-the-streets”, “back-to-basics,” and “anyone-can-do-it.” First, he rejects heroic figures of the major comix industry like Marvel or DC comics by transforming the solemn hero, Jesus of Paradise Regained into hillbilly, Songy. Second, he rejects the popular drawing technique, “Ligne Claire [clear line]” which was used in the dominant comics industry, and employs “ratty line” technique. Third, he creates his own Satanic sign which signifies Miltonic evil and dark side of the Capitalism.

KCI등재

3일제강점기 낭만주의 영문학의 수용과 그 의미: 연구의 배경과 필요성, 경성제국대학, 법문학부 영문학전공

저자 : 박재영 ( Jae Young Park )

발행기관 : 영미문학연구회 간행물 : 영미문학연구 37권 0호 발행 연도 : 2019 페이지 : pp. 67-109 (43 pages)

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This study offers a background of and the need for the study of the reception of British Romantic Literature and its meaning in Colonial Korea, by which it intends to expand the history of English Literature in the Korean peninsula further back to the time of Colonial Korea. Contrary to the opinions of some senior English scholars who traditionally took 1954 as the beginning of the study of English literature in Korea, this study suggests that the period of Colonial Korea should be included and taken as the beginning of the study of English literature. For this argument, this study examines in detail the major of English Literature in Keijo Imperial University, which some senior English scholars have intended to exclude from the history of English Literature in Korea for its low academic level or its being part of the shameful history. This study lays the foundation for the next study, which will mainly focus on the reception of Percy Bysshe Shelley and Lord Byron, to reveal that English Romantic Literature was not only a Western instrument for the development of the country but also a weapon to liberate the nation in the minds of Koreans during the Japanese occupation.

KCI등재

4「가면 뒤에서」에 나타난 역할극과 올컷의 전략적 공연

저자 : 손정희 ( Jeonghee Sohn )

발행기관 : 영미문학연구회 간행물 : 영미문학연구 37권 0호 발행 연도 : 2019 페이지 : pp. 111-135 (25 pages)

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Louisa May Alcott used A. M. Bernard as a pen name for publishing several works, including “Behind a Mask.” This paper examines “Behind a Mask” as Alcott's strategic attempt to express her desire to support woman's power and its values. Masking and performing a role on a stage is a cohesive motif in this dramatic story of Jean Muir who comes to the scene of the Coventry family to take the role of a governess. Her meticulously planned scenario of seeking a wealthy and honorable husband ends up as a story of triumph after several critical moments. The most crucial turn happens when Jean makes an outstanding performance of powerful women in the tableaux vivants. Tableaux vivants were popular in the domestic settings as pastimes, which supposedly served to consolidate dominant ideology imposed on women. Yet as in the case of Jean, they could function to be a medium for expressing the alternatives to women's fixed roles given by domestic ideology. Jean's story of performing the given roles is somehow shared by women in the nineteenth century, but Jean is different from other women because she performs the roles with a specific intention and goal. In the same vein, by producing works published with a pen name, Alcott tried to show her desire to challenge the fixed public image of a domestic woman writer. “Behind a Mask” provides a clear example of Alcott's strategic efforts to challenge the conventional concept of women simply accepting and playing the given roles.

KCI등재

5「호손과 그의 이끼들」에 관하여: 멜빌과 '터의 정신'

저자 : 유희석 ( Hui-sok Yoo )

발행기관 : 영미문학연구회 간행물 : 영미문학연구 37권 0호 발행 연도 : 2019 페이지 : pp. 137-168 (32 pages)

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Herman Melville's thought-provoking review on Nathaniel Hawthorne's “Mosses From an Old Manse” has an extraordinary potential in undoing the debilitating tension of Americanism vs. Globalism that is especially virulent in the literary studies in America. In case of Melville, this die-hard opposition has persistently been transmuted into the ideological dichotomy, American Melville against Global Melville; hence arises the critical necessity to deconstruct the antithetical hermeneutics on the author and to imagine a horizon of truly American literature-cum-world literature embodied by Lawrencian insight, “the spirit of place.” While paying close attention to “Hawthorne and His Moses” in tandem with reviving the present meaning of its creative ambition toward the American national literature, this paper aims to rigorously examine the current validity of the transnational literary studies on Melville and his ecological spirit of place.

KCI등재

6『맥베스』에 나타난 법의 지배 문제

저자 : 하재홍 ( Jaihong Ha ) , 박미경 ( Mikyung Park )

발행기관 : 영미문학연구회 간행물 : 영미문학연구 37권 0호 발행 연도 : 2019 페이지 : pp. 169-208 (40 pages)

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William Shakespeare's Macbeth has often been interpreted as a tragedy that supports the divine right of kings, which reflects the political and religious dogma of James I. However, this perspective has neglected a dominant ideology in law and politics of Shakespeare's England. The common law tradition in Shakespeare's England does not serve to endorse the divine right of kings but a maxim of the law which purports that “the king can do no wrong.” This maxim does not claim that the king is above the law but delimits the sovereign immunity to the rule of law. As a playwright who is well versed in the common law, Shakespeare not only amuses James with Scotland and witches in Macbeth, but also reminds the Stuart monarch of the qualifications for the kingship of England rather than flattering the monarch with the royal prerogative. Macbeth's ambition to fulfill foretelling of three witches continues to grow so much that he transforms himself to a Machiavellian and commits a regicide. Replacing King Duncan, Macbeth fails to meet the obligations imposed upon him, thus resulting in his tragic ending despite the fact that he murdered Duncan and enjoys royal immunity. To be precise, Macbeth never realizes that his royal duties include grounding his rule in the law and justice as a means of protecting his subjects. Hence, Macbeth's tragedy showcases the way in which the political principle of power formulated by Machiavelli is disproved in England insofar as he transgresses the rule of law. In contrast, Malcolm, who becomes a new king after killing Macbeth, decides to follow legal procedures in meeting his obligations. In doing so, Malcolm has demonstrated the possibility of integrating the rule of law with monarchy--which has indeed proved to work throughout a history of England--by adhering to the rule of law as a principle of sovereignty. In this sense, the divergent destinies that are presented in Macbeth's tragedy and Malcolm's promotion to a monarch indicate Shakespeare's critique of a monarchy that goes beyond the rule of law. We conclude the paper by arguing that Macbeth demonstrates the way in which the eponymous hero's way of adopting a vulgar Machiavellianism has been overthrown in accordance with the rule of law in its classical terms, which is distinguished from the rule of law in the common law tradition and thus implies the influence of George Buchanan, tutor to King James VI back in Scotland. Therefore, Macbeth can be read to uphold the rule of law instead of James's advocacy of the divine right of kings.

KCI등재

7The Imperial Politics of Youth and Age in Virginia Woolf's Jacob's Room

저자 : Somi Ahn

발행기관 : 영미문학연구회 간행물 : 영미문학연구 37권 0호 발행 연도 : 2019 페이지 : pp. 209-232 (24 pages)

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My article addresses the question of youth and age in Virginia Woolf's third novel, Jacob's Room (1922), which is her modernist rewriting of the conventional Bildungsroman. Woolf's presentation of her protagonist's short life is specifically limited to his adolescence and young adulthood, both of which unfold within the early twentieth-century context of British imperialism. By explaining how Jacob Flanders's adolescence and young adulthood are portrayed as far from developmental, I discuss the gap between Jacob's chronological youth and symbolic age. The novel characterizes him as young and old at once and therefore makes a connection between the two seemingly contradictory age categories in its attempt to question the ways in which the traditional Englishness has been constructed and preserved in the modern era. In order to explicate the symbolism of Jacob's youth that ends too early, I take a psychosocial approach to see what lies behind this young man's quick demise. Specifically, in shedding light on the prewar context in which a young man's youthful energy was regarded as the best catalyst for the British Empire's continued progress, I argue that in this anti-developmental narrative, Woolf makes it impossible for her young male protagonist to live forward, letting him lead a life in stasis and age unnaturally from his late teens to twenties. As such, Woolf shows that the harmonious relationship between individual aging and imperial advancement is not possible in a modern world that obsessively measures one's remaining potential for linear progress.

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