• 영어어문교육
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• 제15권3호
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• pp.333-351
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• 2009

R.W.B. Lewis called Greene's three novels - Brighton Rock, The Power and the Glory and The Heart of the Matter - Greene's 'trilogy'. Greene was paid full attention by many readers and many critics after publishing these Catholic novels. The themes and plots of his Catholic novels are unique and beyond those of traditional Catholicism. Greene is always willing to stand on the edge of reality. He always conflicts with the reality and eagerly searches for a higher, more spiritual dimension. If we view Greene's protagonists from an open-minded viewpoint, Pinkie of Brighton Rock will be saved at the mercy and grace of God in spite of being evil. Whiskey Priest of The Power and the Glory is worthy of being called a saint in spite of his drunkenness and adultery. Scobie of The Heart of the Matter will be within God's grace in spite of his suicide. The reason all protagonists are saint-like is clear and simple because they all have faith and sacrifice themselves to obey God's first commandment, to love others. To summarize the theme of Greene's 'trilogy', we can say that love is the most valuable in the world. God has mercy for all human beings. The protagonists love God and they love others. In fact, Greene's faith is found in his love of human beings and God.

• 한국산학기술학회논문지
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• 제21권5호
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• pp.39-46
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• 2020

그레엄 그린(Graham Greene)의 『조용한 미국인』(The Quiet American)은 베트남을 배경으로 한 전쟁소설이다. 따라서 전쟁과 관련된 정치적인 이야기가 주를 이루고 있지만, 그 안에서는 기본적으로 유색인종인 베트남인들보다 서양인들이 우월하다는 것을 전제하고 있으며 이러한 인종적 차별에 더하여 여성이 처한 이중적 차별과 불평등을 그대로 표현하고 있다. 서양남성과의 결혼을 통해 부유하고 편안한 삶을 바라는 베트남 여성 푸엉은 자본과 남성이라는 존재로부터 억압 받는 젠더적 약자이다. 그녀는 육체적 고통은 느낄 수 있지만 정신적 고통을 느끼지 않을 정도로 무지하게 표현되며, 남성들의 즐거움이나 이기심을 충족시키기 위한 상대로 묘사되는 등 남성들이 만들어낸 이기적인 시각으로 인해 불평등한 차별을 받고 있다. 젠더적 강자인 남성 주인공 파울러와 파일은 동양 여성인 푸엉을 서양인들과 질적으로 다른 저급한 인간 취급을 하며 단순히 자신들의 이기심을 충족하기 위해 여성을 이용하고 착취한다. 따라서 이들은 기본적으로 젠더 불평등한 관계를 전제로 하고 있기 때문에 그들이 말하는 사랑은 진실한 사랑이라고 보기 어렵다. 결국 작품 결말부분에서 파일의 죽음으로 인해 푸엉이 파울러에게 돌아오게 됨으로써 동양 여성은 서양 남성에 대한 젠더적 열위의 위치에서 벗어날 수 없음을 확인시켜 준다.

• 영미문화
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• 제18권4호
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• pp.33-64
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• 2018

Through the experimental narrative construction by authorial divinity, Muriel Spark's novels and films based on her fiction show the difficulty of living like a human being under various inhumane and manipulative circumstances of the modern capitalistic society. By adopting flash-forward, self-reflection, and deceptive omnipotent viewpoints, her work has surprisingly predicted the post-modern trend in which humans are increasingly attracted and interpellated to the digitalized media. Muriel Spark called the recent anesthetic situation by stimulation "a driver's seat" because it is a symbol of how humans should act to maintain the critical subject. Emphasizing the value of self-reflection, religion and morality in the mechanized society, Muriel Spark stressed literature should play the role of helmsman who sails safely in the rough sea. In Muriel Spark's works, God is often synonymous with writers. As a Jewish immigrant she experienced alienation in Scotland, marital violence, prejudices of the London-based publishing world, Nazism, and Watergate. For her, the harsh reality of the modern society needs to be guided and complemented by something beyond human control. But rather than relying entirely on traditional Catholic doctrines such as Graham Greene and Evelyn Waugh, Muriel Spark has taken a personal, religious view of literature and insists that the genuine writer must play God's play. Seeking for the speculative vision for the future of human life in God's plan, she tries to understand the complex twisted motives of human beings which are often far from the ideal form. Simply put, her search of self-reflection, religion and ethics is modeled on the God's plan for the ideal human being who is supposed as the writer with the transfigurative imagination of the trinity.