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영미문학연구 update

Journal of English Studies in Korea

  • : 영미문학연구회
  • : 어문학분야  >  영문학
  • : KCI등재
  • :
  • : 연속간행물
  • : 반년간
  • : 1976-197X
  • : 2733-4961
  • :

수록정보
수록범위 : 1권0호(2001)~42권0호(2022) |수록논문 수 : 303
영미문학연구
42권0호(2022년 06월) 수록논문
최근 권호 논문
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KCI등재

저자 : Haram Lee

발행기관 : 영미문학연구회 간행물 : 영미문학연구 42권 0호 발행 연도 : 2022 페이지 : pp. 5-43 (39 pages)

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This article offers a critical examination of Max Frisch's Man in the Holocene (1979) as an Anthropocene novel. I argue that Frisch's novel represents the Anthropocene by engaging with its conceptual problematics concerning temporality and agency. Recent ecocritics have viewed the novel as challenging anthropocentric thinking by foregrounding geological time, the enormous scale of which relativizes and marginalizes the place of humanity in the world. In my view, however, Frisch confronts not only geological time but also human-scale history, thereby registering the double temporality of the Anthropocene, as scholars such as Dipesh Chakrabarty understand it. As I demonstrate by analyzing the description of Ticino and Iceland, Frisch juxtaposes two perspectives of geological and human scales. In the process, he describes not only how these two temporal scales coalesce but also how they collide with one another, registering the protagonist's epistemological anxiety that arises from scalar confusion. Furthermore, Frisch's novel elucidates the ontological structure of the human subject in the Anthropocene that straddles both geological and anthropocentric time. As Frisch portrays Geiser as a parodic figure of homo faber by deploying the device of literary collage, the human being with a double temporal consciousness retains minimal agency when he develops the “ecological thought,” or knowledge of his own lack of powers. For Frisch, “man” in the Anthropocene remains the remnant of the human, or the ghostly subject that gazes at his own wreck.

KCI등재

저자 : 이우창 ( Woochang Lee )

발행기관 : 영미문학연구회 간행물 : 영미문학연구 42권 0호 발행 연도 : 2022 페이지 : pp. 45-74 (30 pages)

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This article challenges the critical consensus that portrays Samuel Richardson's eponymous heroine in Pamela: Or, Virtue Rewarded (1740) as a female subject seeking resistance and independence, and that also depicts Mrs. B as one obedient to patriarchal ideology, emphasizing the contradiction between resistant Pamela and obedient Mrs. B. This study revisits discourses for the reformation of manners in the 18th century England, which tried to convert women into morally empowered agents, and reads Richardson's novel against the backdrop of the contemporary reformation discourses that produced a list of behaviors for women based on the principles of duty and domestic virtue. Through contextualized and nuanced reading of Samuel Richardson's conduct books and Pamela, I argue that Richardson's writings are intimately bound to the contemporary discourse of female reform that emphasized the duty of single and married women. In this light, Pamela's resistance and submission to Mr. B can be reappraised as belonging to the same deontological ethics rather than inconsistent attitudes. To conclude, this study assesses Pamela, like Richardson's other novels, as a work that investigates and depicts the potential tension between the various restraints imposed on eighteenth-century women.

KCI등재

저자 : 이미영 ( Mi Young Lee )

발행기관 : 영미문학연구회 간행물 : 영미문학연구 42권 0호 발행 연도 : 2022 페이지 : pp. 75-107 (33 pages)

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This paper aims to read the domestic tragedies in terms of the credit crises of their patriarchal husbands, focusing on A Woman Killed with Kindness and A Yorkshire Tragedy. The patriarchs of domestic tragedies lose their moral or economic credit, and only with the sacrifice and patriarchal virtues of their wives or sisters, do the patriarchs recover their credit and are received again in the credit network. In the main plot of A Woman, John Frankford loses his reputation and his moral credit for his wife's adultery. Anne recovers her husband's moral credit by starving herself to death, constructing her reputation as a martyr, and even turning her deathbed into a performance. In the subplot, Sir Charles Mountford loses his economic credit by his reckless behavior. Not understanding the credit mechanism, Charles mistakes a debt of a usurer for a gift and persuades Susan to surrender her chastity as “a present” to Francis. Thanks to Susan's endorsement of the patriarchal authority, Charles is reinstated into the credit network of the gentle class. In A Yorkshire Tragedy, a drama of archetypal characters, driven by the despair of his credit crisis, Husband stabs his little sons to death and almost kills his wife. Only Wife's strong support of patriarchy reestablishes her husband as a patriarch and returns the household to the credit network both in the drama and in real life.

KCI등재

저자 : 이정진 ( Jungjin Yi )

발행기관 : 영미문학연구회 간행물 : 영미문학연구 42권 0호 발행 연도 : 2022 페이지 : pp. 109-155 (47 pages)

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Im, Jintaek, one of the foremost practitioners of the madang-geuk―the Korean version of participatory political theater, staged Shakespeare's Measure for Measure late in 2016, when the Candlelight Protest was expanding nation-wide. Most noticeable in Im's adaptation was his decision to turn the original play into a genuine comedy. This unusual and defining feature of the adaptation was an eager intervention to the political moment. The comic ending anticipated and celebrated in advance the historic victory of the peaceful mass protest. This performance is truly a rare case of politically relevant Koreanized Shakespeare.
This paper aims, above all, to analyze how the genuine comic ending is prepared by systematic adaptation and to illuminate its rich political messages so resonant in the context of the Candlelight Protest. Another focus of analysis will be on the seemingly conflicting aspect of the adaptation: the full actualization of the original play's potential critical themes, explicitly guided by Brecht's influential suggestion that the play's so-called many problems including the dubious comic ending are embedded as clues for its intended political criticism. Lastly, the creative, modified use of madang-geuk theatrical styles will be examined, especially focusing on how it complements the adaptation to anticipate the comic ending.

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