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British and American Fiction

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수록정보
수록범위 : 1권0호(1994)~29권2호(2022) |수록논문 수 : 628
근대영미소설
29권2호(2022년 08월) 수록논문
최근 권호 논문
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KCI등재

저자 : 고영란 ( Youngran Koh )

발행기관 : 한국근대영미소설학회 간행물 : 근대영미소설 29권 2호 발행 연도 : 2022 페이지 : pp. 5-32 (28 pages)

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This article attempts to newly illuminate D. H. Lawrence as a pioneering human rights advocate through the comparison with Deleuze. Here, the issue of human rights is addressed from the perspective of humanities, not from that of law and politics. By comparing Lawrence with Deleuze, the meaning of human rights is discussed in a more fundamental dimension as well. Both Lawrence and Deleuze advocate the innate right of the freedom of individuals, not persons―a flight from the fixed personal identity and customary framework. This flight can be possible in the process of becoming one with nature in the impersonal dimension. Aside from their seeming similarities, however, there are stark differences between them. Individuation for Deleuze is related with unique chances and singularity. He does not give serious consideration to an individual as a living reality. In contrast to Deleuze, an individual with its free-proud singleness and individuality is a lifetime concern for Lawrence. This difference leads Lawrence and Deleuze to have different attitudes towards human rights. As distinct from Deleuze, Lawrence advocates the human rights of an individual, which include not only its freedom but also a duty to respect others' rights. It is eloquently demonstrated in Lawrence's original vision of a true human relationship.

KCI등재

저자 : 김명진 ( Myungjin Kim )

발행기관 : 한국근대영미소설학회 간행물 : 근대영미소설 29권 2호 발행 연도 : 2022 페이지 : pp. 33-74 (42 pages)

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The purpose of this study is to show how the ambiguity and controversy surrounding Henry James' The Turn of the Screw is materialized in two filmic adaptations: Jack Clayton's The Innocents and Ben Bolt's The Turn of the Screw. To do this, this study analyses the narrative structure, the characteristics of the governess' neurosis, the contamination of children, and the presence of the ghosts. Clayton's The Innocents creatively reinterprets the protagonist's neurosis based on sexual desire and frustration through the multiple identifications of male characters. In addition, this movie maximizes and recreates the ambiguity of the original by adroitly transforming the first-person narrative structure of the original into filmic devices such as point-of-view shots, reaction shots, and the insertion of a prologue and epilogue. On the other hand, Bolt's The Turn of the Screw, despite admitting the existence of ghosts, also recognizes the governess' neurosis. Unlike The Innocents, however, it reveals that her mental disorder originates from the frustration of religious zeal and social ambition by focusing on the religious and social aspects inherent in the text. In short, these two movies provide exemplary cases of adaptation not only by excavating the hidden meanings of the text, but also by making the reader rethink the familiar elements of the text.

KCI등재

저자 : 김소연 ( Soyoun Kim )

발행기관 : 한국근대영미소설학회 간행물 : 근대영미소설 29권 2호 발행 연도 : 2022 페이지 : pp. 75-100 (26 pages)

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This article investigates the intersections of the Gothic conventions and the language of floral cultivation in Frances Hodgson Burnett's 1911 novel The Secret Garden. This novel seeks to relieve anxiety caused by imperial expansion through portraying inward/upward movements of both the juvenile characters and the plants. Mary Lennox who is sent to the English moors after losing her parents in India and her cousin Colin Craven both look similar to the degenerate subjects of the late nineteenth-century Gothic novels. By moving into the walled garden and by cultivating it, the two children acculturate themselves to life in England. At the same time, the garden plays the role of a glasshouse, betraying the Empire's urge to confine diverse things to an enclosed space. The idea of degeneration, which was popular in England in late nineteenth and early twentieth century, is subverted as Mary and Colin grow 'up.' The setting of the novel functions like a kind of flower bed in which the children's gothicized bodies change into the growing bodies of the so-called normal English children. The enclosed and artificial nature of the spatial setting, however, implies that the story of the acculturation is fundamentally hypothetical.

KCI등재

저자 : 박선화 ( Sunhwa Park )

발행기관 : 한국근대영미소설학회 간행물 : 근대영미소설 29권 2호 발행 연도 : 2022 페이지 : pp. 101-122 (22 pages)

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With the feminism movement in the 1960s and 1970s, Charlotte Perkins Gilman's Herland was considerably discussed as a feminist utopian novel. Since the 2010s, however, Herland has been reconsidered with different approaches, including the most controversial aspects of the Herlanders' racialism based on their homogeneous community with parthenogenesis, and the use of negative eugenics which allows sterilizing Herlanders alleged to have undesirable genes through their artificial selection and exclusion. To discuss the racialism and negative eugenics, this paper focuses on a male narrator who comes to perceive the idea of animality as encompassing a range of organic forms including asexual plants and animals. At first, he respects Herlanders by recognizing their high-level culture, education and economy. Later, he begins to feel uncomfortable about the 'all-too-perfect' community. Despite their civilization, Herlanders want to unite even with males for their evolution after learning other cultures. Therefore, this paper argues that Gilman uses the male narrator to reveal the problems of the Herlanders' system and at the same time, more importantly, suggests another imagined utopia which can evolve with the harmony and unity of both sexes, not only women.

KCI등재

저자 : 박예슬 ( Yeseul Park )

발행기관 : 한국근대영미소설학회 간행물 : 근대영미소설 29권 2호 발행 연도 : 2022 페이지 : pp. 123-146 (24 pages)

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Childbearing has been thought of as one of the inevitable and essential human activities. Despite advancements in various areas such as philosophy, science, and technology, the need to procreate has remained an inherent human instinct. According to Hannah Arendt, who defines the three categories of basic human activities as “labor,” “work,” and “action,” procreation belongs to that of “labor” in the way it satiates the basic human needs of humans as animals. However, Foucault's notion of biopolitics revises and broadens the definition of procreation as “labor”; it is not done as a result of an individual desire but rather biopolitics for a government to expand and maintain its power. Although Virginia Woolf did not use the exact term, she was acutely aware of how biopower operates, as evident in her works such as Mrs. Dalloway. In her short story “A Society,” she imagines what could happen if women realize who has forced them to bear children and how much political power childbearing has. She actively thinks about the possibility of altering procreation from “labor” coerced by “biopolitics” to “action” to fight against the patriarchal society. Although this possibility does not turn out successfully in the narrative, it leaves hope for the next generation.

KCI등재

저자 : 윤미선 ( Misun Yun )

발행기관 : 한국근대영미소설학회 간행물 : 근대영미소설 29권 2호 발행 연도 : 2022 페이지 : pp. 147-178 (32 pages)

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This paper offers a critical formalist reading of Henry James's novella “The Patagonia” in order to emphasize the historical-formal condition that the magazine serialization exerted on certain late-nineteenth-century fiction, particularly that of Henry James. This condition allowed works of fiction in this period a unique type of “performative unity” in its construction of a new sociality, an act which the recent “New Formalists” would advocate. The steamship travel featured in “The Patagonia” works effectively as a formal trope for the monthly magazine fiction― especially for the cheaper monthlies that emerged in the 1880s―which sets a rhythm of reading in its monthly publication and has certain socioeconomic implications. “The Patagonia” appeared in two parts in the six-penny English Illustrated Magazine that was established in 1883 by the prestigious publisher Macmillan and Company in order to attract the expanding “mass” readership. In the novella, the transatlantic steamship Patagonia is presented as slow and spacious, like the old Shilling monthlies, but its time-space allows expectations for dramatic cross-class encounters and the more sensational events that result from them. Its heroine, who chooses to die by drowning herself in the sea, however, exposes the fact that the ship's and the novella's destined pace is the result of the contest only among the middle class, whose differentiation has created competing desires for different paces and types of leisure and storytelling. Those who are unable to afford that pace, or social time, are also excluded from its representation. The steamship travel in “The Patagonia” not only provides an instance for the spatiotemporal organization of the narrative but also does so in a way that reveals the external world of the time-space regime that the narrative constructs.

KCI등재

저자 : Seula Lee

발행기관 : 한국근대영미소설학회 간행물 : 근대영미소설 29권 2호 발행 연도 : 2022 페이지 : pp. 179-203 (25 pages)

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This paper focuses on how the man of excessive sentiments and sympathy, Harley, distances himself from the commercial world through the means of the emotional economy of sympathy or happy commerce according to Adam Smith. In contrast to characters who follow doctrines of self-love proposed by Bernard Mandeville as a principle of modern, commercial society, Harley seeks a haven of the material economy in the realm of the emotional economy through the acquisition of pleasure from his sympathetic expenditures. However, it is worth noting that his sympathy is far from innocence. Harley's sympathy does not apply in the same manner to everyone, revealing his calculating nature in its exercise. Distance is required for one to have sympathy for others; thus, having sympathy for others does not overturn the established hierarchical relationships. The tragic ending of Harley's death and his unrequited love results from Harley seeking pleasure in the emotional economy, which cannot be converted into financial commodities.

KCI등재

저자 : Jun Young Jung

발행기관 : 한국근대영미소설학회 간행물 : 근대영미소설 29권 2호 발행 연도 : 2022 페이지 : pp. 205-228 (24 pages)

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Using notions of J. Hillis Miller's narrative repetition, this paper attempts to deconstruct the notion of monstrosity presented within Bram Stoker's Dracula. By way of a multiplicity of narratives and monstrous descriptions, the character of Count Dracula is portrayed as a nefarious monster. However, by examining the repetitions of humanity that manifest within him and the other vampires conjointly with a dissection of the multiple narratives of human perspectives, the text manifests a reading that the true monstrosity is not that of the vampire, but rather that of human misogyny. This paper thus seeks to uncover the monstrous misogyny that is displaced onto the alterity of the vampire. The repetitions of narratives, rhetoric, and actions of the human characters leave Dracula as a shadowless and reflectionless displacement. If these narrative repetitions of monstrosity are traced, the vampire's buried humanity and humanity's buried monstrosity alight on the page.

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