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British and American Fiction

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수록정보
29권1호(2022) |수록논문 수 : 4
간행물 제목
29권1호(2022년 04월) 수록논문
최근 권호 논문
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KCI등재

저자 : Boosung Kim

발행기관 : 한국근대영미소설학회 간행물 : 근대영미소설 29권 1호 발행 연도 : 2022 페이지 : pp. 5-26 (22 pages)

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While literary modernism's signature narrative style, stream of consciousness, has been widely studied from the perspective of Freudian psychoanalysis, other possible inter-influences between modernism and psychology have received little scholarly attention. This paper asks for the need to move beyond Freud by calling attention to the approximate coincidence of the emergence of literary modernism and the introduction of the word “empathy” into English. Empathy was coined by the English psychologist Edward B. Titchener in 1909 as a translation of the German word Einfühlung, an aesthetic phenomenon whose framework was theorized by the German philosopher Theodor Lipps. This paper reads Dorothy Richardson's Pointed Roofs (1915) as an early modernist work to show the neglected connection between Einfühlung/empathy as a popular subject of study in both aesthetics and psychology in the early 1900s and the modernist exploration of interiority. Known as the first writer whose work was described as “stream of consciousness,” Richardson represents her protagonist Miriam Henderson's consciousness by merely recording what she perceives, feels, thinks, and, often partially, understands. This paper argues that while depicting Miriam's struggle to adjust to a new life as an English teacher in Germany, the novel captures the then-burgeoning concept of Einfühlung/empathy and its relevant anxieties by accentuating moments of aesthetic encounters and the limits of Miriam's ability to understand other minds.

KCI등재

저자 : Young-hyeon Ryu

발행기관 : 한국근대영미소설학회 간행물 : 근대영미소설 29권 1호 발행 연도 : 2022 페이지 : pp. 27-49 (23 pages)

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This essay explores thematic concerns of Herman Melville's Billy Budd, Sailor such as violence and justice from the perspective of testimonial truth. To do so, this study first examines the motivation of each main character's testimonial action, and after that, its sincerity. While Billy's violence for his innocence and Claggart's false witness because of his hatred of Billy both signify the perversion of sincerity in testimony, we see that only the legal testimony of Captain Vere lends itself to the secular frame of truth-telling. Such a recognition of secularism draws on a moral dilemma between justice and the law. In that sense, comparative studies tried in this essay, such as Melville's connection with John Brown and with Henry David Thoreau, explicate the historical and intellectual contexts for the author's critique of violence and justice. Especially, Hannah Arendt's theory about the relationship between action and speech deserves our critical attention. Like Arendt criticizes the happening of 'mute violence' in the public sphere, the notion of “demanding action while ridiculing talk” as expressed in John Brown's attack in 1859 can be applied as well to Billy's violence. When divine justice with violence is at odds with human testimony, its judgment remains controversial.

KCI등재

저자 : Jeewon Jung

발행기관 : 한국근대영미소설학회 간행물 : 근대영미소설 29권 1호 발행 연도 : 2022 페이지 : pp. 51-67 (17 pages)

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The essay discusses the fragmentation of modern urban space and the ways in which John Dos Passos aesthetically treated it in Manhattan Transfer. Due to industrialization and urbanization in the late-nineteenth century and the early-twentieth century, it is almost impossible not to be distracted or shocked in the modern urban environment. The urban landscape is fragmented and in perpetual motion, so one cannot rest in contemplation being constantly interrupted physically, visually, and aurally. Manhattan Transfer employs filmic techniques to represent modern city life between 1896 and 1924. Abandoning the traditional narrative style, the text adopts Sergei Eisenstein's montage technique and carries it to an extreme. Its panoramic view of a large cast of characters and multiple narratives in New York are portrayed in a cinematic form. The essay looks closely into the ways in which the fragmented structure of the narrative reveals a polyvalent urban consciousness.

KCI등재

저자 : Jung Sun Choi

발행기관 : 한국근대영미소설학회 간행물 : 근대영미소설 29권 1호 발행 연도 : 2022 페이지 : pp. 69-89 (21 pages)

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This essay will deal with Mary Elizabeth Braddon's reliance on the gender politics of male weeping in Aurora Floyd. As Braddon criticism changes its concern from female-oriented transgression to the emergence of diverse masculinities, critics' readings of Aurora Floyd also shift their concern to the issue of masculinities. Following this critical trend, this essay will explore the ways in which Aurora Floyd presents an ideal form of Victorian masculinity in the character of John Mellish. Different from conventional ideal masculine identities, John Mellish presents as a gentleman who explicitly demonstrates his emotional fluctuation in contrast to James Conyers, a working-class villain, who never expresses his feelings. Particularly, the novel depicts John Mellish's weeping, habitually done and repeatedly demonstrated, as a sign that a male character is affected by female unconventionality and unruliness. Simultaneously, John Mellish's weeping is naturalized as a positive means of expressing his interior self and legitimated as a sign of the genuine worth of his male character in protecting his wife. Eventually, his emotional articulation is used to prove the gender superiority of middle-class gentlemen and class hegemony against James Conyers' defiance and class transgression.

1
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다운로드

(기관인증 필요)

초록보기

While literary modernism's signature narrative style, stream of consciousness, has been widely studied from the perspective of Freudian psychoanalysis, other possible inter-influences between modernism and psychology have received little scholarly attention. This paper asks for the need to move beyond Freud by calling attention to the approximate coincidence of the emergence of literary modernism and the introduction of the word “empathy” into English. Empathy was coined by the English psychologist Edward B. Titchener in 1909 as a translation of the German word Einfühlung, an aesthetic phenomenon whose framework was theorized by the German philosopher Theodor Lipps. This paper reads Dorothy Richardson's Pointed Roofs (1915) as an early modernist work to show the neglected connection between Einfühlung/empathy as a popular subject of study in both aesthetics and psychology in the early 1900s and the modernist exploration of interiority. Known as the first writer whose work was described as “stream of consciousness,” Richardson represents her protagonist Miriam Henderson's consciousness by merely recording what she perceives, feels, thinks, and, often partially, understands. This paper argues that while depicting Miriam's struggle to adjust to a new life as an English teacher in Germany, the novel captures the then-burgeoning concept of Einfühlung/empathy and its relevant anxieties by accentuating moments of aesthetic encounters and the limits of Miriam's ability to understand other minds.

KCI등재

저자 : Young-hyeon Ryu

발행기관 : 한국근대영미소설학회 간행물 : 근대영미소설 29권 1호 발행 연도 : 2022 페이지 : pp. 27-49 (23 pages)

다운로드

(기관인증 필요)

초록보기

This essay explores thematic concerns of Herman Melville's Billy Budd, Sailor such as violence and justice from the perspective of testimonial truth. To do so, this study first examines the motivation of each main character's testimonial action, and after that, its sincerity. While Billy's violence for his innocence and Claggart's false witness because of his hatred of Billy both signify the perversion of sincerity in testimony, we see that only the legal testimony of Captain Vere lends itself to the secular frame of truth-telling. Such a recognition of secularism draws on a moral dilemma between justice and the law. In that sense, comparative studies tried in this essay, such as Melville's connection with John Brown and with Henry David Thoreau, explicate the historical and intellectual contexts for the author's critique of violence and justice. Especially, Hannah Arendt's theory about the relationship between action and speech deserves our critical attention. Like Arendt criticizes the happening of 'mute violence' in the public sphere, the notion of “demanding action while ridiculing talk” as expressed in John Brown's attack in 1859 can be applied as well to Billy's violence. When divine justice with violence is at odds with human testimony, its judgment remains controversial.

KCI등재

저자 : Jeewon Jung

발행기관 : 한국근대영미소설학회 간행물 : 근대영미소설 29권 1호 발행 연도 : 2022 페이지 : pp. 51-67 (17 pages)

다운로드

(기관인증 필요)

초록보기

The essay discusses the fragmentation of modern urban space and the ways in which John Dos Passos aesthetically treated it in Manhattan Transfer. Due to industrialization and urbanization in the late-nineteenth century and the early-twentieth century, it is almost impossible not to be distracted or shocked in the modern urban environment. The urban landscape is fragmented and in perpetual motion, so one cannot rest in contemplation being constantly interrupted physically, visually, and aurally. Manhattan Transfer employs filmic techniques to represent modern city life between 1896 and 1924. Abandoning the traditional narrative style, the text adopts Sergei Eisenstein's montage technique and carries it to an extreme. Its panoramic view of a large cast of characters and multiple narratives in New York are portrayed in a cinematic form. The essay looks closely into the ways in which the fragmented structure of the narrative reveals a polyvalent urban consciousness.

KCI등재

저자 : Jung Sun Choi

발행기관 : 한국근대영미소설학회 간행물 : 근대영미소설 29권 1호 발행 연도 : 2022 페이지 : pp. 69-89 (21 pages)

다운로드

(기관인증 필요)

초록보기

This essay will deal with Mary Elizabeth Braddon's reliance on the gender politics of male weeping in Aurora Floyd. As Braddon criticism changes its concern from female-oriented transgression to the emergence of diverse masculinities, critics' readings of Aurora Floyd also shift their concern to the issue of masculinities. Following this critical trend, this essay will explore the ways in which Aurora Floyd presents an ideal form of Victorian masculinity in the character of John Mellish. Different from conventional ideal masculine identities, John Mellish presents as a gentleman who explicitly demonstrates his emotional fluctuation in contrast to James Conyers, a working-class villain, who never expresses his feelings. Particularly, the novel depicts John Mellish's weeping, habitually done and repeatedly demonstrated, as a sign that a male character is affected by female unconventionality and unruliness. Simultaneously, John Mellish's weeping is naturalized as a positive means of expressing his interior self and legitimated as a sign of the genuine worth of his male character in protecting his wife. Eventually, his emotional articulation is used to prove the gender superiority of middle-class gentlemen and class hegemony against James Conyers' defiance and class transgression.

1
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