• 영어영문학
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• 제59권4호
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• pp.593-617
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• 2013

Tales from Shakespeare, written by Charles and Mary Lamb in 1807, is an adaptation of Shakespeare's plays which was intended for children. Shakespeare's poetic language is transmitted into prose, which enables children to easily read his works. Charles and Mary Lamb collaborated in adapting Shakespeare's plays, but they undertook separate duties which revealed different attitudes in their approach to the adaptation. This dissertation examines Mary Lamb's adaption of Shakespeare's problem play All's Well That Ends Well and Charles Lamb's adaption of Shakespeare' tragedy King Lear, with an adapted pattern focusing on the plot and character. Charles Lamb stressed the "imagination of a fairy tale," which was against the trend in children's literature of the time, while Mary Lamb stressed "the moral and didactic element." Mary Lamb was concerned with the education of female children in the early nineteenth-century. As a result, the Tales presents "a double movement" or perspective, which stresses didactic elements, as well as imagination. These ambivalent attitudes caused critical debates in the nineteenth-century. However, the Lambs defended criticism against "the double movement," suspecting themselves to be "no bigger than a child," from the viewpoint of "the imagination," and reading the Tales to be effective at "making a child a virtuous man," from the viewpoint of "an education."

• 영미문화
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• 제18권4호
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• pp.65-102
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• 2018

This paper focuses on "The Story of $Bras-Coup{\acute{e}}$" in George Washington Cable's The Grandissimes (1880), a story to and around which Cable claimed the larger work was built. It tells of an African candio sold into slavery who, to the dismay of his white purchasers, refuses to work, strikes his master, and runs away to lead a life of a fugitive in the swamps. He is finally captured, whipped, and maimed, but not before he casts a powerful voodoo curse at his master and his plantation. He dies a heroic death, with the last words that he goes "To--Africa." Cable once said that he "meant The Grandissimes as truly a political work as it ever has been called." It is a political work in that $Bras-Coup{\acute{e}}^{\prime}s$ personal rebellion is associated with much-feared slave revolts, especially the black revolution in San Domingue/Haiti. There is also $Honor{\acute{e}}$ f.m.c. (free man of color), one of the narrators of "The Story of $Bras-Coup{\acute{e}}$" and a stand-in for the Freedmen in the postbellum United States, who nurses his own insurrectionary flame. Through these figures Cable makes a "terrible suggestion" that a black revolution is on the horizon unless whites would not mend their ways soon.

• 영어영문학
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• 제57권4호
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• pp.581-598
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• 2011

The recent revival of phenomenology and aesthetics is deeply connected to the development of neuroscience which studies the nervous system and the brain with particular regard to cognition and memory. How are those fields gathered into building up the basis for the communication not only between human beings but also between humanity and its environment? This paper examines the human mind considered unseparable from the body, with reference to Merleau-Ponty's two major works: Phenomenology of Perception (1962) and The Visible and the Invisible (1968). While reading these texts, I investigate the way he overturns the Cartesian cogito and establishes the body as the ground of perception. According to him, human perception is chiefly obtained through the body rather than consciousness. Influenced by William James, who produced the unique concept of cognition and memory through his experiments with the brain, Merleau-Ponty extends Heideggerian Desein to the field of the embodied mind. James also anticipates Bergson, who regards memory as the product of interaction between consciousness and matter (or the body). The intervention of the body which stores the past experiences makes it impossible for us to capture the present moment in itself. This failure, however, is viewed as positive by Merleau-Ponty because the human body is not only a medium of social interaction, but also that of ecological communion.

• 영어영문학
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• 제59권4호
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• pp.619-643
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• 2013

The experience of interment during World War II has been one of the primary motifs of fictional and autobiographical narratives by Japanese Americans. Examining textual evidences in John Okada's No-No Boy and Monica Sone's Nisei Daughters, this paper argues that the internment has been designed, carried out and concluded based primarily on the principles of economics. Borrowing the notion that 'wealth has (racial) color' as Lui and others maintain, this paper analyzes episodes in which the protagonists and other characters testify how their internment has resulted in their loss of capital as well as human rights and dignity, not to mention temporary suspension of their citizenships. In addition, this paper contrasts the image of the US as a land of equity as represented in the literary texts of the $18^{th}$ century authors in the US with that of our two authors. In doing so, this paper argues that the historical incident of internment in the $20^{th}$ century is the scene in which American ideals become irrecoverably sullied and American dreams turn into American nightmares.

• 영어영문학
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• 제64권4호
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• pp.585-600
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• 2018

Over the last three decades, the field of American Studies has increasingly paid attention to transnational approaches in an effort to diversify and expand the field's concerns beyond the narrow sense of the nation-state in today's globalizing world. Yet, the mediation of the transnational requires a careful analysis of the nation that is still in transit. In this context, this essay examines Herman Melville's novel Moby-Dick (1851) as a case study that vividly shows how reading American literature and culture through transnationalism not only offers new interpretations of canonical texts, but also helps us to better understand the historical roots and cultural contexts of contemporary issues such as global labor and migration, US citizenship and racial justice. To address the complexity of the text's circulation and reproduction, coupled with US national ideology and cultural conditions, I first turn to the canonization of Melville's Moby-Dick during the Cold War era as a national project and then explore the possibilities of transnational readings by focusing on the politics of race and global capitalism in the nineteenth century whaling industry. In doing so, I argue that critical transnationalism allows readers to keep questioning about their own understanding of race, nation, and cultural identity while remaining attentive to the destructive force of US imperialism and global capitalism in the twenty-first century.

• 영어영문학
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• 제64권2호
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• pp.171-185
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• 2018

Students and other new readers of modernist poetry often experience difficulty with the influential early work of Ezra Pound. Although these typically brief poems may appear (deceptively) simple, an understanding of the relationship between Imagism and Vorticism is crucial to reading-or teaching-them effectively, which in turn requires significant familiarity with relevant poetics theories as well as representative poems. This essay clarifies the complex relations Imagism and Vorticism as two distinct styles that are too often conflated to the detriment of an accurate understanding of either one (and, in consequence, of the later modernist poetry that builds on their discoveries). In order to elucidate the modernists' justification of free verse over traditional metrical composition, I begin with an elaboration of T. E. Hulme's 1911 theory of the "cheerful, dry, and sophisticated" modern classicism on which both Imagism and Vorticism were largely predicated, developing Hulme's important distinction between the version of classicism that is "static" (and gives rise to Imagism) and the one that is "dynamic" (and leads to Vorticism and beyond it). In the following two sections, I draw upon and synthesize a broad range of Pound's own poetics statements to reveal the evolution of first sound ("melopoeia") and then the image ("phanopoeia") throughout his early work. Although the body of this article is analytical and historical in nature, it concludes with a practical template prompt for a creative response assignment, appropriate to undergraduate and graduate students, designed to help new readers recognize for themselves how Vorticist art works and why it matters.

• 영미문화
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• 제18권2호
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• pp.51-78
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• 2018

To put it simply, thing theory is a study of meaningful capacities of materiality. Although T. S. Eliot regarded pathetic fallacy as the bad example of objective correlatives in his modernism poetry theory, it is clear that many objects in literary works reflect diverse human desires. Among many, Victorian sensation novels are the most distinct genre where the various paraphernalia in them indicate the distorted and exaggerated greed of the industrial revolution era. Whereas the male protagonists are usually related with the norms objects of authority such as portrait and locket, the female characters' connection with cosmetics and white dress shows their oppressed and fragile position in the patriarchal and hierarchical society. In the (post)modern society, the ambiguity of things has grown rapidly due to the increasing discrepancy between objects and things. In special, the new journalism and the psychological realism novels often reveal the post-truth phenomenon because consumerized audience depend more upon the attraction and affect than the mere evidence and facts. For the individual, according to object relations theory, these alternative facts are rather internalized into their mind as the internal object when they are motivated by the non/contact with primary caregivers in their childhood. The dominant material imagery in (post)modern fiction becomes the site of resistance because of their reconstructed and extended meaning. The object relations theory and thing theory can be effectively used to uncover the complicated meanings of desired objects by using the human-object's meaningful relations and early mental images that are secretly alive still in the present.

• 영미문화
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• 제18권1호
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• pp.93-120
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• 2018

Constance Fenimore Woolson is among those whom scholars have for long been trying to rediscover and add to the list of representative American writers. The primary methodology has been regionalism, based on the fact that most of her work portrays remote, exotic regions in and out of America. Still, Woolson remains obscure to general readers as well as literary critics outside a small circle of her scholarship. This essay attributes that obscurity to Woolson scholars' blind reliance on regionalism's nationalistic assumption in reading Woolson's multifaceted writing, and proposes to explore her nationally and regionally displacing view of the rigidly stereotypical and ideologically biased binary opposition between the center and the margin in postbellum America. The essay takes as an example the only story by Woolson that has never been reprinted or anthologized until very recently, "In Sloane Street," and examines why it resists the scholarly endeavor to regional categorization. The examination especially focuses on how the story exposes the Americanizing conceptualization of the region and its limits. The essay concludes with an attention to the story's ending where Woolson abruptly yet deliberately introduces a form of almanac as the main character Gertrude's mode of daily record. The attention to that uniquely hybrid genre in the American literary tradition, which encompasses the public and the private, the universal and the local, sheds light on Woolson's authorial intention to deconstruct the Manichean view of literary regionalism.

• 영어영문학
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• 제64권3호
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• pp.469-481
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• 2018

When literatures and cultures encounter their counterparts in terms of the big data or statistics of a new reconfiguration in the cognitive map, the tangential points of the borderland will be reduced to what Mitchell calls "a mere abstraction on a map," which nevertheless will provide a vast interstitial zone of "intersections, competition, and exclusions." This zone will be the dynamic vortex for the aesthetics, politics, and ethics of cultural translation. The translated discourse will engage in carrying across the disturbing region of untranslatability and demonstrate how the literary texts of world literature reveal enriching but threatening human experience. This dynamic border of vortex will construct the translational space of world literature, transcending the fragmentary untranslatable nature of the hybrid convergence of the ethnic, racial, cultural and national intermixtures and constructing what Pascal Casanova terms "The World Republic of Letters." In this paper, I will demonstrate how the very concept of scale is related to literary space as well as how distance creates a poetics of literary landscapes which looks ahead of world literature. Also, I will attempt to find the possibility to relate the "micro-scale" with the "macro-scale," and to construct the scale politics of representation. "Glocalization" is a convenient theoretical tool for the double movement of the up-scale and down-scale.

• 영어영문학
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• 제60권2호
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• pp.249-267
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• 2014

An outsider's perspective is often illuminating and enlightening, as he or she perceives the world differently from us, and sees things that insiders tend to miss. While an outsider's views are fresh and penetrating, an insider's vision is often banal and myopic. Although outsiders' perspectives may not be quite right at times, they always shed light and provide insight, allowing us to reevaluate the conventional interpretations of our literature and folktales. In order to prevent our own understanding and knowledge from growing stale and narrow-minded, we should endeavor to consider outsiders' opinions and view all things from multiple angles. When reading literary or cultural texts, therefore, we need to read through others' eyes because it provides alternative perspectives. And we should learn to co-exist with others and see things from others' eyes. In his celebrated novel, My Name Is Red, Orhan Pamuk, the Turkish Nobel Laureate, explores the themes of clashes between the East and the West, the young and the old, and conservatism and radicalism. The confrontation between the stubborn defenders of tradition and the self-righteous innovators ultimately results in bigotry, hatred and murder. As Pamuk aptly perceives in his novel, the inevitable outcome of such uncompromising conflict is degradation of humanity and annihilation of human civilization. That is precisely why we need to embrace others who are different from us and learn to look through others' eyes. Sometimes, we fear other voices and different perspectives. As the movie "The Others" suggests, however, there is no reason for us to be afraid of others.