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American Fiction Studies

  • : 미국소설학회
  • : 어문학분야  >  영문학
  • : KCI등재
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  • : 연속간행물
  • : 연3회
  • : 1738-5784
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  • : 호손연구(~2002) → 호손과 미국소설 연구(2003~) → 미국소설(2007~)

수록정보
수록범위 : 1권0호(1994)~29권3호(2022) |수록논문 수 : 526
미국소설
29권3호(2022년 11월) 수록논문
최근 권호 논문
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KCI등재

저자 : 손영희 ( Younghee Son )

발행기관 : 미국소설학회 간행물 : 미국소설 29권 3호 발행 연도 : 2022 페이지 : pp. 5-26 (22 pages)

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... And the Earth Did Not Devour Him by Tomás Rivera is based on the author's autobiographical experience of working on a farm as a Mexican migrant worker. This novel depicts the poor working conditions of seasonal migrant workers, the exploitation of child labor, and pervasive racism in Texas in the 1940s and 1950s. Rivera intended to document the lives of Mexican migrant workers which were forgotten in the American official history in this novel. This novel consists of fragmented 14 short stories and 13 vignettes which have no linear plot progression, breaking away from the traditional narrative method and a nameless narrator-protagonist tries to remember the 'lost year' following his steam-of-consciousness. This paper examines how 'remembering' of fragmented past images can be functioned as a narrative method in Rivera's work which focuses on community voices and collective memories rather than on his or her individual growth and development. And it will explore the meaning of the storytelling about each life of Mexican migratory workers based on remembering and then delve into how their spoken language can be made as their community oral history and be read as the seed of communal love in this novel.

KCI등재

저자 : 손지영 ( Jiyoung Son )

발행기관 : 미국소설학회 간행물 : 미국소설 29권 3호 발행 연도 : 2022 페이지 : pp. 27-53 (27 pages)

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Vineland is a postmodern American fiction set in California, United States in 1984, the year of Ronald Reagan's re-election. Through flashbacks by its characters, who have lived the sixties in their youth, the storyline of the novel is complexly intertwined with the 1960s, a decade of protests and the height of the rebellious hippie era and the 1980s, a decade of political conservatism, such as Ronald Reagan's Reaganomics which refers to the neoliberal economic policies. This paper aims to show how the liberal governmental power in 1960s and the neoliberal power in 1980s portrayed in Vineland are exercised through the characters of the novel from the viewpoint of Michel Foucault's (neo)liberal governmentality and biopolitics. Also, this study examines how the mechanism of governmental powers subordinates the subjects to them. Finally, this research illuminates strategies of resisting liberal and neoliberal governments that subjugate the subjects to governmental power producing “a docile subject” and the “entrepreneur of the self” on the theoretical frameworks of Foucault and Gilles Deleuze.

KCI등재

저자 : 이준영 ( Jun Young Lee )

발행기관 : 미국소설학회 간행물 : 미국소설 29권 3호 발행 연도 : 2022 페이지 : pp. 55-85 (31 pages)

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For many years, Native Son, one of Richard Wright's major works, has been heavily attacked by some renowned literary critics because of its narrative inconsistency and thematic ambiguity, not to mention its graphic violence and suspected misogyny. Especially in “Fate,” the last section of the novel, the driving force of its narrative is weakening gradually amid its philosophical meditations and political manifestation, which leads eventually to its narrative inconsistency and thematic ambiguity. In this respect, many critics have attempted to explain these flaws in terms of Wright's political leanings and philosophical confusion. In contrast to this consensus of the critics, this essay tries to figure out these deficiencies of the novel in terms of the dialectics between accident and necessity. The driving force of the narrative of Native Son comes from the dynamic interaction of the accidental events of Bigger Thomas, its protagonist, and the necessity of socio-historical forces in 1940s America in which the novel was born. By way of the dialectical confrontation between individual accidents and socio-historical necessities, the driving force of narrative in Native Son successfully portrays the totality of racial discrimination in the American society, as well as the existential meanings of Bigger's life as a black man. However, from the last section of the novel, the dialectics of accident and necessity shatters into dogmatic discourses of politics and ambiguous monologues of philosophy, which results in undermining the driving force of the narrative in Native Son.

KCI등재

저자 : 최하영 ( Hayoung Choi )

발행기관 : 미국소설학회 간행물 : 미국소설 29권 3호 발행 연도 : 2022 페이지 : pp. 87-116 (30 pages)

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Younghill Kang's East Goes West, an important text of Asian American Literature in its formative period, has been studied and critiqued in terms of its social context, realistic representation, and its in-depth criticism of American society. In the same vein, this work has been generally considered as an autobiography, in which the narrator is unproblematically identified with the author.
Drawing on Patricia Waugh's theoretical assumption that metafictional tendency is inherent in all novels, this paper attempts to read East Goes West as an autobiographical metafiction, which explores unstable relationship between immigrant autobiography and American reality. Firstly, it attempts to read the text as mimesis of process, rather than mimesis of product. As a “story about creating a story,” East Goes West implies reality is also constituted in the same way the text is produced. Secondly, this paper analyzes how Kang constructs his text, interweaving and parodying various texts such as Elmer Gantry, The Great Gatsby, and “Yon Yonson” song. The intertextuality reveals the text is constituted in relationship with other texts, not as mimesis of reality. Thus, the text functions as an effective immigrant satire which doubts Western concept of linear progress and successful assimilation and integration American dream seems to promise. The metafictional reading of this work will, hopefully, motivate another metafictional reading of other Asian American texts, which have been subject to stereotypical label of realism, leading up to creation of a genealogy of Asian American metafictions.

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