논문 상세보기

한국현대영미소설학회> 현대영미소설> 수동적 감정의 가능성: 필립 K. 딕의 『안드로이드는 전기 양을 꿈꾸는가?』

KCI등재

수동적 감정의 가능성: 필립 K. 딕의 『안드로이드는 전기 양을 꿈꾸는가?』

Possibility of Passive Emotion in Philip K. Dick`s Do Androids Dream of Electric Sheep?

장정윤 ( Jung Yoon Chang )
  • : 한국현대영미소설학회
  • : 현대영미소설 18권1호
  • : 연속간행물
  • : 2011년 04월
  • : 123-146(24pages)
현대영미소설

DOI


목차


					

키워드 보기


초록 보기

This paper explores the significant characteristics of paranoid emotion in Philip K. Dick`s Do Androids Dream of Electric Sheep? The paranoid emotion is the rational and composed mood when the subject forces himself or herself to explain something ambiguous and inexpressive according to his or her own system of interpretation. In addition, it plays a role in covering anxiety that comes from the gap between void reality and the perfect system that he or she constructs. Therefore, the subject has acquired such qualities as rationality, tenacity, self-satisfaction, and self-protection. In the end, it reveals a powerless state of itself. I analyze the experiences of the main character, Rick Deckard, the bounty hunter who kills androids that escape from Mars. He is obsessive about the concrete boundary that indicates the differences between a human being and an android, a living entity and a dead thing, and sensibility and insensibility. In the end, he feels hopelessness and gives up disguising his feelings. The feeling of helplessness is the physical and mental response not to do anything else whether someone makes him do it or he does it on his own in the void reality. Maintaining the feeling of helplessness, he is still in the paranoid state and realizes that he is not different from an android that definitely replaces another one without any hesitation. Thus, he stops doing anything for society and fries to stay in hopelessness: he remains steadfast in the paranoid emotion.

UCI(KEPA)

I410-ECN-0102-2012-320-002393191

간행물정보

  • : 어문학분야  > 영문학
  • : KCI등재
  • :
  • : 연3회
  • : 1229-7232
  • :
  • : 학술지
  • : 연속간행물
  • : 1994-2021
  • : 785


저작권 안내

한국학술정보㈜의 모든 학술 자료는 각 학회 및 기관과 저작권 계약을 통해 제공하고 있습니다.

이에 본 자료를 상업적 이용, 무단 배포 등 불법적으로 이용할 시에는 저작권법 및 관계법령에 따른 책임을 질 수 있습니다.

28권2호(2021년 09월) 수록논문
최근 권호 논문
| | | |

KCI등재

1“가해자는 판단자가 될 수 없다”: 에드워드 존스의 소설 『알려진 세계』에서 인식자 찾기

저자 : 김광순 ( Kwangsoon Kim )

발행기관 : 한국현대영미소설학회 간행물 : 현대영미소설 28권 2호 발행 연도 : 2021 페이지 : pp. 7-36 (30 pages)

다운로드

(기관인증 필요)

초록보기

This essay discusses how Edward P. Jones endows an illiterate and seemingly insane black slave woman with the authority of representing the history of slavery. Gayatri Spivak asserts that the subaltern cannot speak for themselves because they have no means of representation, which makes it necessary that intelligentsia should speak on behalf of the oppressed people. Dealing with the history of slavery in the neo-slave narratives, African American writers have discovered and represented the silenced voices of the black slaves. However, Jones's The Known World problematizes such efforts of the black intelligent class to represent the experiences of black slaves in the antebellum South by questioning the authority of language and historiography. Jones's novel deliberately blurs the boundary between fiction and history by showing how the authority of language is at the hands of people in power. Significantly, in Jones's novel that has more than 45 characters, it is Alice, an illiterate and seemingly insane slave woman, who is able to represent the history of slavery most accurately through her artistry. In the novel, Alice's two picture maps on the quilts function not only as the most precise historical record of the plantations in antebellum Virginia but also as the navigation that leads black people to a spiritual awakening of their reality. In this manner, Jones places the ultimate knower of the antebellum Southern history outside the language system that has sustained the white racist discourses and Western historiography.

KCI등재

2능력주의에 대한 비판 서사로서 이언 맥큐언의 『토요일』 읽기

저자 : 김금주 ( Kumjoo Kim )

발행기관 : 한국현대영미소설학회 간행물 : 현대영미소설 28권 2호 발행 연도 : 2021 페이지 : pp. 37-62 (26 pages)

다운로드

(기관인증 필요)

초록보기

This paper examines the limitations and problems of meritocracy in a neoliberal modern world in Ian McEwan's Saturday. Meritocracy is one of the prevalent social and cultural discourse of our time. It promises that anyone can get ahead and earn rewards by her or his individual talent and effort. Embracing neoliberalism, meritocracy encourages individual competition reducing welfare programs and social safety nets. The competitive self-interest damages communal values and solidity, and meritocratic ideal generates arrogance to the winners, and humiliation to the losers. Meritocracy no longer operates as promised. Social mobility has weakened, wealthy people have more opportunities for success, and new inequality has emerged in the neoliberal meritocratic society. Saturday contributes to explorations of the limitations and problems of meritocracy by representing Henry Perowne and his family, and his one day experiences in London, including his encountering with Baxter in particular. Saturday shows that in order to overcome the problems of meritocratic society, it is imperative to need community solidarity and re-check the social safety net and welfare system for community members.

KCI등재

3그래픽 노블 『펀 홈』에 재현된 상호텍스트성과 연대하는 글쓰기

저자 : 김사영 ( Sayeong Kim )

발행기관 : 한국현대영미소설학회 간행물 : 현대영미소설 28권 2호 발행 연도 : 2021 페이지 : pp. 63-85 (23 pages)

다운로드

(기관인증 필요)

초록보기

Alison Bechdel's Fun Home (2006) is an autobiographical work that depicts in a unique way the identities and relationships of characters that are difficult to be represented in any other way but as a graphic novel, consisting of a combination of images and text. Citation of various texts, including photographs, letters, and newspapers, has defined the work as a kind of queer archive and, especially, several literary critics have recognized intertextuality as one of the core themes of the work. Along with the text, the format of the work, the graphic novel, in which the image forms an important axis of the work, suggests that intertextuality works in a different way than in traditional literary forms where only the text is written. Text and intertextual images cited from various literary works play an important role in the relationship between Alison Bechdel, Bruce Bechdel who is Alison's father, and Helen Bechdel who is Alison's mother and Bruce's wife.
As such, this paper will briefly outline the intertextuality with Fun Home and examine the way in which the relationship between the three characters is represented in the interaction between images and text. The inherent intertextuality of the imaging of the graphic novel shows the relationship between Bruce and Allison and mediates it to explore the process of changing relationships and the possibility of reconciliation between the two characters. Furthermore, the relationship between Alison and Helen, which cannot be explained only by intertextuality, is examined through the writing practices of the two characters. Writing along with intertextuality serves as a means for Alison and Helen to escape Bruce's influence and find their own independent identities while also enabling affinity between the two characters.

KCI등재

4「아이올로스」 장에서 조이스의 문예부흥운동/게일민족주의 비판

저자 : 민태운 ( Taeun Min )

발행기관 : 한국현대영미소설학회 간행물 : 현대영미소설 28권 2호 발행 연도 : 2021 페이지 : pp. 87-109 (23 pages)

다운로드

(기관인증 필요)

초록보기

In “Scylla and Charybdis” and “Cyclops” of Ulysses, Joyce openly criticizes or parodies the Irish Literary Revival and Gael nationalism. The chapter, “Aeolus” is also covertly critical of this movement. However, compared with the other two episodes, “Aeolus” has not been extensively studied in terms of this theme. This paper examines how “Aeolus” presents critiques of this movement.
Dawson's essay praises the nature of Ireland by excessively beautifying it, like the Irish revivalists who mystify the Irish past and sanctify her soil. His “peerless panorama of Ireland's portfolio” is contrasted with Stephen's realistic view of the Dublin city. MacHugh's idea of “spiritual” Irish, as contrasted with materialistic British, also idealizes his nation by rationalizing the failure of the Irish people in the present life.
Joyce would never have accepted Taylor's speech on the revival of the Irish language, even though the writer was impressed by Taylor's suggestion that the Irish should not succumb to British domination. This is confirmed by the parody of this speech in the “Ithaca” chapter; the speech is demystified and will be emulated by Stephen's Parable. MacHugh's claims about the spiritual nature of the Irish are also challenged by this parody.
While Taylor idealizes the heroic story of Moses, Stephen realistically describes the petty bourgeois life in his parable. If Taylor's speech reflects the revivalist's tendency to idealize and inflate the past and country, the parable shows the present and the heart of the city in its historical context. Stephen deflates, demythologizes, and desacralizes the romantic notion of the Revival as well as Taylor's speech. Poor Old Woman/Ireland idealized by Literary Revival is reduced to a prostitute who readily gives her body to the conqueror of their country, thus revealing the reality of the colonized country.
In fact, Joyce has kept this critical attitude toward the Revival throughout his career, by writing on the lower middle class of Dublin with the style of “scrupulous meanness”; that is, with precision.

KCI등재

5셰익스피어 연구자의 관점에서 본 『스테이션 일레븐』의 셰익스피어 활용

저자 : 백정국 ( Jung-kook Paik )

발행기관 : 한국현대영미소설학회 간행물 : 현대영미소설 28권 2호 발행 연도 : 2021 페이지 : pp. 111-136 (26 pages)

다운로드

(기관인증 필요)

초록보기

Emily St. John Mandel's dystopian fiction Station Eleven foregrounds Shakespeare in full measure. Projecting plague-ridden Shakespeare's England onto the narrative surface, the novel extensively employs all that is associated with Shakespeare: his plays and drama troupe, the misery of contemporary England, the socio-cultural role of playhouses including the Globe, the theatrical conventions, the religiopolitical conflicts surrounding stage performance, etc. Mandel's full-fledged appropriation of Shakespeare is an indisputable marker of his privileged position in the novel. But her authorial preference for Shakespeare can hardly constitute “Shakespeare essentialism.” Mandel's use of Shakespeare is complicated and multidimensional to the extent that it neither fully confirms the novel's presumable optimistic vision nor necessarily empowers Shakespeare as a restoring agent after the collapse of civilization. The accidental nature of the apocalyptic disaster and the survivors' regressive nostalgia for the capitalist civilization confine Shakespeare's role to the structural backdrop of the novel.

KCI등재

6『출항』과 『올랜도』에 나타난 생태적 경험과 권력

저자 : 손일수 ( Ilsu Sohn )

발행기관 : 한국현대영미소설학회 간행물 : 현대영미소설 28권 2호 발행 연도 : 2021 페이지 : pp. 137-164 (28 pages)

다운로드

(기관인증 필요)

초록보기

This essay applies an ecocritical approach to examining power relations represented in Virginia Woolf's novels, The Voyage Out and Orlando. The rise of ecocriticism in recent literary studies is largely owing to the increasing public awareness of climate change and of the loss of biodiversity, and draws attention to the mutually constructive or destructive relationship between culture and the physical environment. Alongside a group of other recent critics, I argue that ecocritical readings need to provide more than recognizing the agency of nonhuman beings and the interdependence of all (non)human beings that comprise the environmental whole. I explore in Woolf's novels the relations of power through which ecological experience, knowledge, and taste are enjoyed and appropriated. Woolf does not see in ecology or ecological life itself a liberatory potential or transcendental standpoint; instead, she describes evolving workings of power as it relies on those aspects of the environment which are becoming relevant to humans' social relations during the Anthropocene. Thanks to their extended spatial and temporal settings respectively, The Voyage Out and Orlando combine to demonstrate how existing power structures mediate ecological experience and unevenly distribute effects, both positive or negative, of environmental changes to human beings.

KCI등재

7뇌이식에서 자아와 감정: 하니프 쿠레이시의『몸』

저자 : 오현숙 ( Hyun Sook Oh )

발행기관 : 한국현대영미소설학회 간행물 : 현대영미소설 28권 2호 발행 연도 : 2021 페이지 : pp. 165-193 (29 pages)

다운로드

(기관인증 필요)

초록보기

This article aims to explore the relationship between self, brain and body in the process of brain transplantation in Hanif Kureishi's novel, The Body. The novel's protagonist, an ailing and old male dramatist called Adam, is given the opportunity for his brain to be transplanted onto a beautiful and young corpse. In the process, he becomes a Newbody composed of his own brain and the young body, and names himself Leo Rafael Adams. Like other Newbodies, his brain transplantation is not merely born of a desire to live a second life as a youth, but is also based on his conviction that his self is located in the brain. This centrality of brainhood is, however, centered around the neuroscientific separation of the body and the brain. In this context, this article argues that the protagonist's brain transplantation results in challenging and reverting Daniel Dennett's traditional concept of “Cartesian Theater,” which highlights how Cartesian dualism is still a key aspect of modern materialist theories of mind. Accordingly, drawing on Antonio Damasio's neuroscientific theory, this article navigates how Leo continues to be affected by the memory and emotion of the body and becomes a mutant, since he neither belongs to Adam's brain nor Mark's body. Additionally, Leo realizes that his new body is a desirable commodity that other new bodies may want to own and trade. Thus, this novel questions the centrality of brainhood and the consumerism of techno-capitalism, further emphasizing the stage of the body, woven with the theatre of the mind.

KCI등재

8행위 주체자 델라의 변화를 위한 사회 금기 허물기: 메릴린 로빈슨의 『잭』

저자 : 이승복 ( Seung Bok Yi )

발행기관 : 한국현대영미소설학회 간행물 : 현대영미소설 28권 2호 발행 연도 : 2021 페이지 : pp. 195-220 (26 pages)

다운로드

(기관인증 필요)

초록보기

Marilynne Robinson's latest novel Jack deals with how Jack meets Della Miles and how they develop their love to be husband and wife. Even though the protagonist is Jack and the whole story is narrated by Jack and entirely from his point of view, it seems correct to claim that the real protagonist is Della. For it is Della whose firm attitude toward Jack and their affection, and action initiate the important events and develop them to unite Jack and Della as real husband and wife. Both Jack and Della cross the boundary of racial taboo and confirm their love, but their attitudes are quite different. Jack is described as indecisive and at some point he even thinks of terminating their relation due to racial issue. On the other hand, Della, who has maintained a very normal and happy life, hides in her mind an ever-burning anger caused by racism which does not include African Americans as part of America. Her anger, however, works in quite positive and beneficial ways to let her see persons in his or her pure form of soul, which in Robinson's words is the mystery of human existence. By seeing Jack as a person who is beautiful in his own way, Della is able to reinforce her love of him despite the fierce opposition from her family and thus she is disowned by her father. Robinson calls their marriage as Jack's “grandest larceny by far” and the “knowledge of good” at the very ending paragraph of the text. Robinson casts a very serious question about race that keeps appearing in Gilead trilogy and asks readers what society would find couples like Jack and Della happy and secure.

KCI등재

9존 에드가 와이드맨의 『소떼 죽이기』: 아프리카 전통가치의 회복과 대항서사

저자 : 이승은 ( Seungeun Lee )

발행기관 : 한국현대영미소설학회 간행물 : 현대영미소설 28권 2호 발행 연도 : 2021 페이지 : pp. 221-250 (30 pages)

다운로드

(기관인증 필요)

초록보기

This paper attempts to reread The Cattle Killing, focusing on how Wideman constructs the counter-narrative through reclaiming the African traditional values. Unlike most of critical essays on The Cattle Killing which have considered it as 'historiographic metafiction', in this paper much attention is given to the African traditional values. By employing 'the Great Time' in which past, present and future are floating, with being inextricably linked to one another, Wideman shows how three narratives of different times and places are interconnected, which suggests that the crisis of the contemporary African American community should be grasped in the transatlantic Africans' history of racial oppression. Furthermore, on the basis of the African Ibo's belief that 'All stories are true' Wideman reconstructs the forcibly forgotten and excluded narratives of a black male indentured servant and a black female slave as well as a black itinerant preacher, whose diverse stories vividly reveal the harsh realities caused by the racial oppression. In particular, the emphasis is given on the necessity of maintaining the 'storytelling' tradition through the mutually beneficial relationships of a nameless itinerant preacher with Liam and Kathryn. The storytelling is stressed not only as the affirmative power to help them overcome their traumas by sharing their stories, but as the crucial means of conveying from generation to generation how the African American community has survived a dreadful racial oppression. Thus, Wideman constructs the counter-narrative which makes it possible for the African American community to resist the master narrative and to gain 'the whole survival' by reclaiming the African traditional values.

KCI등재

10카릴 필립스의 『마지막 항해』에 나타난 흑인 여성 이민자의 런던

저자 : 이정화 ( Jung-hwa Lee )

발행기관 : 한국현대영미소설학회 간행물 : 현대영미소설 28권 2호 발행 연도 : 2021 페이지 : pp. 251-270 (20 pages)

다운로드

(기관인증 필요)

초록보기

This essay examines the implications of gender on the representation of post-war London in Caryl Phillips's The Final Passage. Leila, a young woman of the Windrush generation who leaves an anonymous Caribbean island to come to London with her feckless husband and a newborn son, is competent enough to navigate the urban space of London and produce intelligent observations on the racially divided city. And yet, she appears to be a passive and voiceless character who becomes increasingly isolated in the private sphere, thus failing to reterritorize the city. In part, Leila's failure is a byproduct of the gendered and racialized understanding of London that metonymically identifies the city with a white female body. The conception of London as an alluring white female body that desires black men might serve as an empowering fantasy for male immigrants―such as Sam Selvon's 'boys' in The Lonely Londoners―because it tempts them to explore London and become 'men.' However, the conflation of London and a deceptive white female significantly limits Leila's London life as it makes her perceive the city as a threat to her family. Depicting Leila's grim life in London, The Final Passage brings to the fore the gendered nature of diasporic experience and spatial imaginings.

12
권호별 보기
같은 권호 다른 논문
| | | | 다운로드

KCI등재

1아일랜드인 블룸과 조선인 구보: 모더니즘과 글로벌 상품문화

저자 : 김상욱 ( Sang Wook Kim )

발행기관 : 한국현대영미소설학회 간행물 : 현대영미소설 18권 1호 발행 연도 : 2011 페이지 : pp. 7-33 (27 pages)

다운로드

(기관인증 필요)

초록보기

My essay brings to light commodity culture`s global liaison between Joyce`s Ulysses and its literary parallel, A Day of Mr. Goobo the Novelist bt Teawon Park. The 1920s-30s of Korea saw the growing volume in printing capital that led to the massive establishment of commercial newspapers and publishing houses. Goobo is a sign of the Korea-West cultural traffic enabled by the importation of western literture that the enlarging printing capitalism undertook and, at the same time, a Korean incarnation of Irish Bloom displaying the common attributes of global consumerism. The intertextuality between Ulysses and A Day of Mr. Goobo the Novelist is found not merely in the employment of literary modernist techniques such as cinematic overlap but also in global consumer culture. Bloom and Goobo`s consumerism comes down to commodity fetishism in which human relations are objectified-i.e. commercially consecrated-and grounded in commodities` exchange value. The time gap between the 16-June-1904 of Bloom and one day of Goobo in 1934 is closed and even nullified to have the world culture of consumerism across the globe. The phantasmagoria of commodity fetishism to which bloom and Goobo got fully exposed makes the cultural and literary double, Bloom and Goobo, commodiry the female bodies in the ephemeral images of fashion, which the spectacles of ads might generate. The global consumerism is also a juggernaut to propel feudal familism to calculative family relations perpetuated by the money economy of commodity relation.

KCI등재

2나의 이웃 나의 박해자인 가족: 이창래의 『비상』과 타자와의 대면

저자 : 박수정 ( Su Jung Park )

발행기관 : 한국현대영미소설학회 간행물 : 현대영미소설 18권 1호 발행 연도 : 2011 페이지 : pp. 35-61 (27 pages)

다운로드

(기관인증 필요)

초록보기

Chang-rae Lee`s third novel Alofi has contributed to its author`s newly granted title as a writer who deals with the "universal" as opposed to particular, ethnic concerns. This paper argues that Aloft does represent the "universal," not with regard to its white male protagonist Jerry Battle, but with regard to its calls for facing one`s family as the "absolutely other" as Emmanuel Levinas would define it. Jerry "declines the Real" when he encounters familial difficulties of which the beginning was the relationship with his late wife Daisy Han, who came to him as the destitute, denuded "face" of the other. It is, however, the additional death of the other that fundamentally disturbs Jerry`s "being" and changes his attitude towards his family and life. His daughter Theresa, disease stricken, sacrifices herself for her unborn baby, so she calls him to face the present of his family and the past related to Daisy`s death. Theresa`s substitutive death beyond Jerry`s knowledge and understanding ultimately invests him with the one responsible for the other, the subject "response-able" to the other`s order of "Thou shalt not kill." A Levinasian way of reading Aloft will call its readers to face their family as a neighbor who needs their care and responsibility, and a persecutor who even demands their taken-for-granted place at home.

KCI등재

3전후 영국노동계급소설과 교육 계급적 정체성: 데이비드 스토리의 『패스모어』, 레이먼드 윌리엄즈의 『접경지역』, 『제2세대』

저자 : 윤영필 ( Young Phil Yoon )

발행기관 : 한국현대영미소설학회 간행물 : 현대영미소설 18권 1호 발행 연도 : 2011 페이지 : pp. 63-92 (30 pages)

다운로드

(기관인증 필요)

초록보기

In the period of mid-1950s to late `60s which witnessed the renaissance of working-class literature, unprecedented number of working-class novels were produced by the writers who were themselves working-class. One of the recurring theme in many of these novels was education and its effects. This is not something to be wondered at; education was the fulcrum of the entire postwar British social project which aimed for welfare state, getting over class division and social inequality. As educational opportunities expanded, social mobility considerably increased. Still in so far as education system remained class-bound, the effects of education for working-class people were complex and ambiguous. Especially those individuals who managed to move out of their own roots through education were likely to suffer from identity crisis and alienation, being torn between two conflicting worlds. Being haunted themselves by these experiences, many working-class writers explored the personal, social implications of educational opportunity throughout their novels. In view of this problematic of education, social mobility and class identity, this paper successively examines David Storey`s Pasmore and Raymond Williams`s Border Country and Second Generation. Each of these novels presents the spiritual crisis of a young academic who, having moved beyond his working-class background, has to go through painful renegotiations with his roots. Pasmore focuses on the confusion, anxiety, alienation and self-division resulting from the thoughtless pursuit of the upward movement through education. On the other hand, Williams`s novels interrogate the ambivalent nature of education and probe the complicated ``return`` journey of the protagonist, which turns out to be essential, though fraught with tension, for the future of his working-class community as well as for the integrity of his being.

KCI등재

4혼혈 입양 내러티브로서의 『만 가지 슬픔』

저자 : 임진희 ( Jin Hee Yim )

발행기관 : 한국현대영미소설학회 간행물 : 현대영미소설 18권 1호 발행 연도 : 2011 페이지 : pp. 93-121 (29 pages)

다운로드

(기관인증 필요)

초록보기

This paper deals with the discourses of complex identity politics involved in the transracial and transnational female body. By groping linguistic predicaments, this paper argues that Elizabeth Kim`s adoption discourse challenges the closed structure of identity formation, and offers a profound discourse of a female body with a keen awareness of the complex interrelationship of race, nation and gender. Korea has recently been vigorous in recognizing overseas Korean adoptee writers, with their transplanted and untranslated life stories. Transnational and transracial adoptees` struggle to understand their origins ultimately deepens readers` understanding of Korean diasporic existence, and Korea in general. Ten Thousand Sorrows, The Extraordinary Journey of α Korean War Orphan, is read as a life-based literary narrative, exploring "a poetics of Experience." This life-testimony grapples with the meaning of Korea as an orphaned nation, and the adoption as the quiet migration and "queer diaspora." Transracial and transnational bodies work as "maps of the relation between power and identity." Korea has persisted in the deeply embedded ideas of "ethnic nationalism" and the patriarchal Confucian ideologies. Korean adoptees of mixed blood have been considered as the embodiment of a national shame in the turmoil of the tragedy of Korean national history. This narrative of Elizabeth, a Korean transracial and transnational female adoptee deeply explores her diasporic existence and the marks of trauma on her body caused by the victimization of women. It also deals with the questions of misogynist discourse of male supremacy from both Korean national structure and imperialistic white male dislocations, and the ensuing untranslability of her diasporic life. By focusing on how she overcomes this predicament, this paper proposes the positive legacy from adoptees` incessant struggle for the future Korean society intermittent with the questions of transraciality and transnationality.

KCI등재

5수동적 감정의 가능성: 필립 K. 딕의 『안드로이드는 전기 양을 꿈꾸는가?』

저자 : 장정윤 ( Jung Yoon Chang )

발행기관 : 한국현대영미소설학회 간행물 : 현대영미소설 18권 1호 발행 연도 : 2011 페이지 : pp. 123-146 (24 pages)

다운로드

(기관인증 필요)

초록보기

This paper explores the significant characteristics of paranoid emotion in Philip K. Dick`s Do Androids Dream of Electric Sheep? The paranoid emotion is the rational and composed mood when the subject forces himself or herself to explain something ambiguous and inexpressive according to his or her own system of interpretation. In addition, it plays a role in covering anxiety that comes from the gap between void reality and the perfect system that he or she constructs. Therefore, the subject has acquired such qualities as rationality, tenacity, self-satisfaction, and self-protection. In the end, it reveals a powerless state of itself. I analyze the experiences of the main character, Rick Deckard, the bounty hunter who kills androids that escape from Mars. He is obsessive about the concrete boundary that indicates the differences between a human being and an android, a living entity and a dead thing, and sensibility and insensibility. In the end, he feels hopelessness and gives up disguising his feelings. The feeling of helplessness is the physical and mental response not to do anything else whether someone makes him do it or he does it on his own in the void reality. Maintaining the feeling of helplessness, he is still in the paranoid state and realizes that he is not different from an android that definitely replaces another one without any hesitation. Thus, he stops doing anything for society and fries to stay in hopelessness: he remains steadfast in the paranoid emotion.

KCI등재

6잠재적 감정으로서의 아파테이아 -쿳시의 『마이클 K의 삶과 시대』

저자 : 전소영 ( So Young Jeon )

발행기관 : 한국현대영미소설학회 간행물 : 현대영미소설 18권 1호 발행 연도 : 2011 페이지 : pp. 147-167 (21 pages)

다운로드

(기관인증 필요)

초록보기

Stupidity and wisdom stand in a deeply paradoxical relationship. Since the Enlightenment, thought has been "trained" to "detach" itself from stupidity. But it is discovered right at thinking`s origin: it names the wonder or stupefaction that inspires thought. Stupidity names the repressed ground for human affectivity. Apatheia, that is assumed by Kant as a emotionless state or absence of affect, can be related with stupidity. The fact that Kant classifies apatheia among affects is meaningful as it implies that apatheia can function as a potential of all Michael K, the protagonist described in Life and Times of Michael K, is a kind of idiot who shows an unique emotion of stupidity and apatheia. In fact, he appears to lack many things in reality but has no desire for anything. Also his idleness in reality can be criticized for its irresponsibility and passivity, he only wants a genuine existential freedom of his being. The only one thing he can do as a person who has been treated like an inferior animal is to be stupid in the turmoil of war. For Michael K, stupidity is the very condition of his being and the means to survive in the cruel historical and social reality. A doctor of the camp who tried to control Michael K with his charity has failed and been overwhelmed by his stupidity. He also experiences a paradoxical emotion like stumplimity in relation with an unrepresentable being of Michael K. The only responsible and ethical response of the other is to try to commune with emotion of the other for a sincere relation even if we can`t know it at all.

KCI등재

7유산영화(Heritage Film)의 정치학: 『하워즈 엔드』 의 영화적 각색

저자 : 최영순 ( Young Sun Choi )

발행기관 : 한국현대영미소설학회 간행물 : 현대영미소설 18권 1호 발행 연도 : 2011 페이지 : pp. 169-191 (23 pages)

다운로드

(기관인증 필요)

초록보기

The term ``heritage film`` refers to a genre of British cinema that emerged in the late 20th century, featuring literary sources, sumptuous production design, and a repertory cast. It reached its apogee in the 1980s and 90s with Merchant-Ivory Productions, which established a remarkable style of their own by presenting a series of stately period-costume pieces. The heritage film elicited a great deal of criticism. It was denounced as part of the ``heritage industry`` that Therefore, the genre was deemed essentially regressive, implicitly colluding with Thatcherism, the prevailing ideology of the day. Some critics, however, sought to reappraise the complex layers of its cinematic texts by and large in terms of gender or class politics. They facades, suggesting that this seemingly conservative genre could serve as a social critique. In this context, Howards End, one of the best Merchant-Ivory collaborations, serves as a touchstone for the controversies over the heritage film. Based on E. M. Forster`s novel of 1910, the film presents a panoramic portrait of Edwardian England. The screenplay of Ruth Jhabvala, alert to the radical edge of the original text, extracts the essentials and reworks them into screen in an assuring manner, bringing up to date the key concerns addressed by the novel. Also brilliant are Jenny Beavan`s costume, Luciana Arrighi`s art direction, and the ensemble acting of first-rate British actors, which are all finely coordinated by James Ivory`s masterful directing. The result is a film of rare quality, incisive, tasteful, and highly relevant to the present day. In sum, Howards End is far from yet another cultural reactionary politics of Reagan-Thatcher years, indicating the extent to which the heritage film can present a critical inquiry into contemporary existence.

KCI등재

8The Folly of "Roaring Trade" in "After the Race": the Irish Gordon Bennett Race and Economic Paralysis

저자 : Hye Ryoung Kil

발행기관 : 한국현대영미소설학회 간행물 : 현대영미소설 18권 1호 발행 연도 : 2011 페이지 : pp. 193-213 (21 pages)

다운로드

(기관인증 필요)

초록보기

The story "After the Race" in Dubliners was set at the 1903 Irish Gordon Bemiett Motor Race. The International Race was in fact handed over from the British, who failed to find a course in Great Britain. The Irish accepted the Race with the enthusiasm of "a Papal visit" and seemingly engaged in roaring trade designed to accommodate visitors who came from abroad to view the Race. In truth, however, the Race did not bring prosperity or change anything in the economy of the country: the number of visitors was not as big as expected, and even the results of the Race were disappointing, making many Irishmen lose their bets on the race. Significantly, Joyce`s story, which presents a closer look at the Race and its influence on Dublin society, reveals a more fundamental reason than the number of visitors and the amount of money as to why the Race cost the country. The failure of the Race to bring about economic boom was the moral state of the Irish people, which Joyce diagnosed as "paralysis" and portrayed in all the stories, including "After the Race," in Dubliners. As suggested in the story, the newly emerging Catholic middle classes, represented by the Doyles who have "modified" Nationalism, were more concerned with making their own wealth and escaping from the provincial setting of Dublin than the economic improvement and liberation of the country. The Irish were not yet ready to benefit from the International Race, regardless of the roaring trade it generated.

KCI등재

9Performing Sex, Performing Race: Joey Sands and His Narrative Performance in Jessica Hagedorn`s Dogeaters

저자 : Min Jung Kim

발행기관 : 한국현대영미소설학회 간행물 : 현대영미소설 18권 1호 발행 연도 : 2011 페이지 : pp. 215-251 (37 pages)

다운로드

(기관인증 필요)

초록보기

Two decades now since its first publication, Jessica Hagedorn`s Dogeaters(1990) continues to maintain eminence in ethnic studies for the author`s bold exploration of the different classes of Filipino society that are informed by the complexly interwoven local and global socio-political histories. As suggested in Hagedorn`s somewhat daring selection of the her title as "dogeaters" at the risk of charges against misrepresentation or ethnic betrayal, Hagedorn`s novel is almost shameless in its delineation of lives overwritten by the everyday realities of colonialism, imperialism, neocolonialism, and dictatorship, and corresponding social ills--manifested more particularly as state repression, corruption, underdevelopment, and extreme poverty. As much as the novel is a stunningly candid portrayal of the national bourgeoisie and the Filipino upper-class, it is also a keen depiction of the painful reality faced by subjects excluded from access to social, familial, and material opportunities for basic human rights and existence. In addition, Hagedorn`s achievement lies in the mutually embeddedness of her thematic intent and her distinct postmodern narrative stylistics. This paper seeks to understand the connection between Hagedorn`s experimental stylistics and her critical intent, specifically by concentrating on the figure of Joey Sands, the half -black, nightclub disc-jockey, who prostitutes with white foreign males. While Joey`s life becomes the site of Hagedorn`s most vocal critique of political and socio-economic violence that assume appalling dimensions and manifestations, he is also the site for the inscription of resistant subjectivity. While not proposing some naively hopeful resolution to social inequality and suffering, Hagedorn fictionalizes empowering moments of dissent and conflict, which emerges through a reconception and redrawing of oneself and one`s relationship to others. My interest lies in illustrating how instances of rebellious affirmation are informed by the element of "performance," or counterperformance, to the existent "performatives" of Western centered social constructs, such as on sexuality, race, and ethnicity.

KCI등재

10James Baldwin`s Complex Humanism in the Early Essays and Go Tell It on the Mountain

저자 : Eui Young Kim

발행기관 : 한국현대영미소설학회 간행물 : 현대영미소설 18권 1호 발행 연도 : 2011 페이지 : pp. 253-284 (32 pages)

다운로드

(기관인증 필요)

초록보기

The purpose of this paper is to re-examine James Baldwin`s critique of Native Son as stated in his early essays and performed in Go Tell It on the Mountain. In "Everybody`s Protest Novel" and "Many Thousands Gone," Baldwin argued for the necessity of an African American novel of manners. Baldwin then proceeded to write his first novel which closely echoed the styles of Henry James and James Joyce. Although this move was facilitated by postwar liberalism, Baldwin`s writing preserved a political edge that eventually offended the liberal readership. Baldwin`s literary agenda was a reflection of his complex humanism that propelled him to critique the status quo in no uncertain terms. Baldwin`s politics, however, caused a critical impasse of another kind. By demanding a coalition based on human dignity, Baldwin refused to commit himself to a single-issue alliance. This paper works through Baldwin`s racial and sexual politics in order to clarify the breadth and depth of Baldwin`s commitment to the human. In particular, the proto-feminist elements of his thinking are highlighted in order to defend him against the charge of misogyny. The investigation is continued in a reading of Go Tell It on the Mountain that focuses on the mother-son relationship. The mother-son relationship is central to the protagonist`s epiphany through which he embraces secular life and the uncertainties of living. Through both characters, the novel successfully depicts the complex field of manners in the Harlem ghetto. Baldwin`s aesthetic agenda and humanism lend strength to each other to affirm the intricate inner life of his characters, male and female alike.

12
주제별 간행물
간행물명 최신권호

KCI등재

영미문학페미니즘
29권 2호

KCI등재

영미문학연구
19권 0호

KCI등재

영어영문학21
34권 3호

KCI등재

영어영문학
67권 3호

KCI등재

현대영미소설
28권 2호

KCI등재

현대영어영문학
65권 3호

KCI등재

근대영미소설
28권 2호

KCI등재

영어영문학연구
47권 3호

KCI등재

미국소설
28권 2호

KCI등재

영미문학연구
40권 0호

KCI등재

D. H. 로렌스 연구
29권 1호

KCI등재

현대영미시연구
27권 1호

KCI등재

영어영문학21
34권 2호

KCI등재

제임스조이스 저널
27권 1호

KCI등재

영어영문학
67권 2호

KCI등재

영어영문학연구
47권 2호

KCI등재

18세기영문학
18권 1호

KCI등재

현대영어영문학
65권 2호

KCI등재

안과밖
50권 0호

KCI등재

영미문학페미니즘
29권 1호
발행기관 최신논문
자료제공: 네이버학술정보
발행기관 최신논문
자료제공: 네이버학술정보

내가 찾은 최근 검색어

최근 열람 자료

맞춤 논문

보관함

내 보관함
공유한 보관함

1:1문의

닫기