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영미문학연구회> 영미문학연구> 무절제한 욕망과 감염에 취약한 몸: 질병 담론을 통해 살펴본 『착오 희극』

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무절제한 욕망과 감염에 취약한 몸: 질병 담론을 통해 살펴본 『착오 희극』

Bodies Vulnerable to Humoral Chaos and Contagious Syphilis in The Comedy of Errors

조영미 ( Youngmi Cho )
  • : 영미문학연구회
  • : 영미문학연구 41권0호
  • : 연속간행물
  • : 2021년 12월
  • : 167-199(33pages)
영미문학연구

DOI

10.46562/jesk.41.5


목차

Ⅰ. 부엌 하녀 넬의 병든 몸
Ⅱ. 대식과 매독을 읽는 질병 이론: 체액설과 감염론
Ⅲ. 몸에 새겨진 무질서를 읽는 다양한 방식
Ⅳ. 몸의 비유를 통한 세상에 대한 이해
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The Comedy of Errors has been regarded as inherently disjunctive with its disparate sources, Pauline and Plautine, and its generic mixture of romance and farce. This paper examines how the play appropriates the contemporary disease discourses to represent the domestic and global trade in nascent capitalist England. The diverse approaches to diseases in the early modern period, including conventional humoralism and newly introduced contagion theory, provided a useful frame of reference to formulate characters’ diverse confusion. The Comedy of Errors stresses that “some love that drew him oft from home” can be gluttonous and syphilitic because it exposes the bodies both to the interior disorder from excessive appetite and the contagion as exterior invasion, making them chaotic and strumpeted. Employing amphibolous puns, pointing to the corporeal and the commercial at the same time, The Comedy of Errors articulated the mystery of trade in advance of the vocabulary’s development.

UCI(KEPA)

I410-ECN-0102-2022-700-001046765

간행물정보

  • : 어문학분야  > 영문학
  • : KCI등재
  • :
  • : 반년간
  • : 1976-197X
  • : 2733-4961
  • : 학술지
  • : 연속간행물
  • : 2001-2022
  • : 303


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1Anthropocene Time in Max Frisch's Man in the Holocene

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.

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2“나의 미덕과 나의 의무가 허락하는 한”: 파멜라의 저항과 순종

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.

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3가부장의 크레딧 위기: 가정비극을 중심으로

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.

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4문제극에서 희극으로: 『자에는 자로』의 마당극 각색공연 <법대로 합시다!>의 성취와 셰익스피어의 한국화

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.

1
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1워즈워스의 빌둥과 숭고: 쉴러의 미학으로 『서곡』 읽기

저자 : 박찬길 ( Chankil Park )

발행기관 : 영미문학연구회 간행물 : 영미문학연구 41권 0호 발행 연도 : 2021 페이지 : pp. 5-62 (58 pages)

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This paper is an attempt to re-examine Wordsworth's poetic claim of his spiritual growth in The Prelude with German ideas of Bildung and the sublime. I start with Schlegel's remarks that the prevailing tendencies of his age are the French Revolution, Fichte's transcendental philosophy, and Wilhelm Meister, which I think could also be an apt summary of what is contained in The Prelude because all the Bildungsgeschichte of the age across Europe were motivated more or less by the same historical occasion, the French Revolution. Bildung, in this context, may well be understood as the process of materializing in an individual's life the idea of freedom, one of the ideals the French Revolution was supposed to make into reality, which would explain why The Prelude should be understood along with its German equivalents in the same philosophical context. My argument is that Wordsworth's poetic claim of his own poetic growth could best be made sense of by Schiller's idea of “pathetic sublime” because Wordsworth's Bildung in The Prelude is prominently accelerated by the “sublime” experiences within the key episodes such as Simplon Pass, Snowdon, and the “Sleep no more” scene of Book X. In the first main section, I recover Goethe's idea of Bildung from his classic Wilhelm Meisters Lehrjahr for the comparison with the other kinds of Bildung in Wordsworth's poetry. In the second, I explained the Bildung of “Tintern Abbey” which is based mainly on British empiricist philosopher such as David Hartley. In the third, I critically reviewed the works by other scholars who have studied The Prelude in the light of Kantian sublime to prepare my own reading of The Prelude with Schillerian sublime as the rationale for Wordsworth's Bildung in the final section.

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2제인 오스틴과 근대적 남성: 『맨스필드 파크』에 관하여

저자 : 유희석 ( Hui-sok Yoo )

발행기관 : 영미문학연구회 간행물 : 영미문학연구 41권 0호 발행 연도 : 2021 페이지 : pp. 63-101 (39 pages)

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This article is a critical vindication of Jane Austen's artistic achievement which is controversially manifested in Mansfield Park. Dealing with Austen's arguably most troubling courtship romance is a highly challenging work, particularly when it comes to literary evaluation of the author's representation of modern men and their ideological masculinities inherent in the patriarchal system. The perusal of the novel is also no less demanding especially when the analytic attention is paid to the heroine's pivotal integrity invariably tainted, or sometimes even distorted by men-centered world. Undertaking aforementioned onerous tasks of rigorous reading and also reflecting on the essential complementarity of opposite sexes, Fanny Price and Edmund Bertram in the context of the crisis of traditional patriarch in late 18th century England, a provisional conclusion is reached; human frailties revealed in Fanny and Edmund in different ways lead them through tortuous process to a conviviality of mutual needs that is exemplified contentiously at the end of the novel. This reading, keeping dispassionate distance from feministic mode of thinking, tries to clarifies and coordinates the general bearing of scholarly studies on Jane Austen's literary innovation of the tradition of English sentimental novel signalled by Samuel Richardson. Against the background of our current 'gender wars' which are self-destructively engaged by all sides including various sexual minorities, the final emphasis of this essay is laid on a Woolfian androgynous vision of life that Mansfield Park endorses.

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3도시희극 속 위기의 청년들: 크레딧 경제의 틈새 찾기

저자 : 이미영 ( Mi Young Lee )

발행기관 : 영미문학연구회 간행물 : 영미문학연구 41권 0호 발행 연도 : 2021 페이지 : pp. 103-131 (29 pages)

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This paper aims to define and analyze young men's credit crisis and their differentiated strategies in rebuilding their damaged credit by reading closely the two city comedies, Eastward Ho and A Trick to Catch the Old One. Theoretically, the early modern credit economy was based on the harmonious correspondences between moral credit and economic credit, thus orienting toward a “moral economy.” However, as moral credit could be constructed by performance or deceit, the credit economy based on the moral credit could also be manipulated to one's interest by the clever use of the loopholes inherent in the credit economy. In Eastward Ho, Quicksilver, a “bad” apprentice, ruins his credit and is locked up in the Counter, a debtor's prison, by his master and creditor, Touchstone. To get released from prison and to regain his credit, Quicksilver must receive a pardon from his former master. For that purpose, Quicksilver performs the role of a penitent prisoner and becomes an icon of penitence in the prison. Golding, a “good” apprentice, silently joins him in the plot as the director of Quicksilver's performance, thus constructing his own credit as a merciful administrator. Touchstone, a shrewd merchant, also agrees to become a spectator of the show and admits Quicksilver as his apprentice again, thus helping to construct the moral economy of the world in the play. In A Trick, Witgood, a bankrupt prodigal, cannot rebuild his career so easily, because he has multiple creditors and his own uncle, Lucre, is the one who confiscated his land. As his credit cannot be easily rebuilt by mere performances and role-playing, Witgood appropriates the lusty widow stereotype and uses the marriage with a rich widow as leverage to get the assistance of his uncle. He also needs the power of papers and legal contracts, along with cunning manipulation of the hostility and rivalry between Lucre and Hoard, to navigate through the hostile world of London and retrieve his land and reputation. Quicksilver and Witgood, the young men in credit crisis, reveal the loopholes and dilemmas of the credit economy, and show how moral credit and economic credit defined and negotiated each other in the early modern England.

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4『매장된 아이』의 개작과 비평의 사정: 이른바 '존재론적 딜레마'의 처리를 중심으로

저자 : 이정진 ( Jungjin Yi )

발행기관 : 영미문학연구회 간행물 : 영미문학연구 41권 0호 발행 연도 : 2021 페이지 : pp. 133-165 (33 pages)

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This paper closely examines the revised version of Buried Child to argue against the almost consensual critical view about Buried Child, Pulitzer-prize winner of '1979 and apparently Sam Shepard's signature work. The play seems to be the reworking of the tradition of American family melodrama but a number of scholars and critics have agreed upon its essentially avant-garde nature behind the realistic facade. According to them, its realism is set up only to be completely deconstructed and the final effect in the process can be interpreted as performance; of course, corresponding to the concept of performance they inherited from 1960's avant-garde theater movement. It is the so-called 'Existential Dilemma', that they quite often emphasize as the telling evidence of the anti-realistic nature of the play. The dilemma refers to one of the rather notable plot contradiction that a character called Vince is strongly implied to be the same person as the titular 'buried child.' The playwright announced on various occasions including the preface to the revised edition that revision was mainly required to address the dilemma. Furthermore, all the other specific goals professed in it are manifestly for strengthening realism. Assessing how the goals are realized with relative ease through revision, it cannot but be concluded that the degree in which the realistic styles of the play are disturbed have been overly exaggerated.
However, some of the added lines in the revised version are far from Shepard's announced revision policy: for example, in one case, some added lines are combined with existing lines to create a typically Shepardian monologue-like, rather esoteric long-lines and another plot contradiction comparable to the 'Existenal Dilemma' becomes more pronounced. Indeed, this also questions the outright anti-realistic intent of the play. The contradictory directions of revision in terms of stylistics suggests the presence of the over-aching thematics. Based on the analysis in my dissertation of the thematics of the play and how the play's peculiar pseudo-realistic (rather than anti-realistic) style helps dramatize it, it is argued that those seemingly erratic cases of revision are needed to complement the thematics, which is inseparable with the pseudo-realistic style of the original version and, therefore, is to be weakened with the strengthened realism.

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5무절제한 욕망과 감염에 취약한 몸: 질병 담론을 통해 살펴본 『착오 희극』

저자 : 조영미 ( Youngmi Cho )

발행기관 : 영미문학연구회 간행물 : 영미문학연구 41권 0호 발행 연도 : 2021 페이지 : pp. 167-199 (33 pages)

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The Comedy of Errors has been regarded as inherently disjunctive with its disparate sources, Pauline and Plautine, and its generic mixture of romance and farce. This paper examines how the play appropriates the contemporary disease discourses to represent the domestic and global trade in nascent capitalist England. The diverse approaches to diseases in the early modern period, including conventional humoralism and newly introduced contagion theory, provided a useful frame of reference to formulate characters' diverse confusion. The Comedy of Errors stresses that “some love that drew him oft from home” can be gluttonous and syphilitic because it exposes the bodies both to the interior disorder from excessive appetite and the contagion as exterior invasion, making them chaotic and strumpeted. Employing amphibolous puns, pointing to the corporeal and the commercial at the same time, The Comedy of Errors articulated the mystery of trade in advance of the vocabulary's development.

KCI등재

6Senile Sexuality in Arabella Kenealy's “A Beautiful Vampire”

저자 : Somi Ahn

발행기관 : 영미문학연구회 간행물 : 영미문학연구 41권 0호 발행 연도 : 2021 페이지 : pp. 201-223 (23 pages)

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My article discusses the British doctor and eugenic feminist Arabella Kenealy's fin-de-siècle story “A Beautiful Vampire” (1896) through the lens of gender and aging. Specifically, I examine the Victorian perception of female aging and menopause, read Kenealy's eugenic feminist response to the issues, and see how her short story enables the elderly female vampire to justify her bodily agency in her fight against the conventional paradigm of the time, within which women are expected to age naturally and gracefully only into wives and mothers. I ultimately suggest that Kenealy's depiction of the old lady vampire's unnatural and ungraceful aging―or anti-aging―makes us rediscover the powerfulness of the elderly female sexuality, which is intrinsically non-reproductive and thus non-normative, and that her other literary works about female aging need to be further explored in this light.

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