• Journal of English Language & Literature
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• v.59 no.4
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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."

• Journal of the Korean Society of Marine Environment & Safety
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• v.12 no.2 s.25
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• pp.115-123
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• 2006

The policy regime of ocean is changed from ocean liberty paradigm to ocean management paradigm. Ocean resources have the characteristics of weak excludability and strong rivalry. Therefore, they need rational ocean management so as to curb the tragedy of commons. The important ocean issues and policy regimes today is ocean pollution, coastal management, sea-level rise, fishery, whaling, ocean jurisdictions, deep seabed resources, military security, piracy, ecological environmental security and so on. This paper aims at reviewing these major international ocean issues, the policy regimes for them, and the desirable tasks of ocean policy regimes in the future from the macro perspective of international ocean politics or policy-making.

• Journal of English Language & Literature
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• v.64 no.4
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• pp.651-672
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• 2018

Death of a Salesman is centered on Willy Loman trying to achieve the American dream and taking his family along for the ride. This paper explores the meaning of his suicide in the work through the Adorno's theory on the individual's reification and commodity by an exchange value in the capitalism and argues that Bourdieu's capital classification shows the cause of his tragic decision. Reification refers to "the structural process whereby the commodity form permeates life in capitalist society." and Adorno called the reification of consciousness an epiphenomenon. The social-psychological level in Adorno's diagnosis serves to demonstrate the effectiveness and pervasiveness of late capitalist exploitation. According to Bourdieu, cultural capital can exist three forms: in the embodied state, in the objectifed state and in the instituionalized state. He states embodied capital is argued to be the most significant influence; however unlike other forms of capital (social, economic, etc.) obtaining embodied capital is largely out of the individuals' control as it is developed from birth. In conclusion, I suggest Death of a Salesman can be interpreted as a text criticizing the internalization of the subject, which is the result of the self-destructive mechanism of the subject in the logic of modern subject formation.

• Journal of English Language & Literature
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• v.64 no.1
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• pp.61-76
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• 2018

This essay examines Toni Morrison's African-American characters' struggle in The Bluest Eye (1970) and Home (2012) through the lens of heteronormativity, arguing that they suffer double victimization due to both their race and gender. The Bluest Eye portrays a family tragedy caused by an African-American husband and wife's failure to live up to images of gender as represented in white, middle-class media. Written forty-two years later, Home describes an African-American man and woman who establish their own lives away from gendered standards after striving to meet social expectations and becoming traumatized in the process. Their adversities stem not only from the deeply rooted racial discrimination in American society but also from subtle gendered norms implanted by heteronormativity. Morrison's characters in her earlier narrative face a tragic denouement, ultimately destroying their children's lives. By contrast, Morrison's later characters explore more utopian ways of life unfettered by heteronormativity, overcoming hardships imposed by white-centered heteronormal society. By portraying socially victimized characters, Toni Morrison problematizes the power behind the discriminatory nature of heteronormativity and suggests a more gender-neutral, egalitarian way of organizing society, free from the constraints of heterosexuality and from violence created by normalized gender rules.

• Journal of English Language & Literature
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• v.64 no.1
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• pp.77-94
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• 2018

This paper examines William and Ellen Craft's Running a Thousand Miles for Freedom (1860)-a narrative of the enslaved couple's escape from Macon to Philadelphia in the guise of a white male master and a colored slave. Expanding Judith Adler's notion of "travel as performed art," my reading of Running focuses on the Crafts' stratagems of transvestism-crossing boundaries not only of gender, but also of race, class, and disability. If travel can be understood as a form of performed art, then why not address a traveler as a performance artist? I present William and Ellen's role-playing in Running as performers of crossing borders and categories, or, as "fugitive performers," since the couple's story never reaches its final arrival but narrates an eternal run-away, far more than "a thousand miles to freedom." Using social stereotypes of race and gender to disguise, William and Ellen plot, write, choreograph, play, and recite on the moving stages and manipulate the others-especially white American audiences-who accompany the couple's run-away and those who were responsible for the cultural drama-a tragedy of American slavery. Becoming "fugitive performers," William and Ellen de-essentialize and debunk the nineteenth-century America's firm belief in distinct color line between black and white, and in the high yet unstable bars between male / female, abled / disabled, master / slave, and freedom / slavery. The Crafts alert their contemporaries and readers by presenting the complex and permeable boundaries of race, gender, class, social and cultural ability.

• English & American cultural studies
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• v.9 no.1
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• pp.27-50
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• 2009

Henry James tries to describe minutely in The Wings of the Dove the process in which a bad faith grows, is practiced in one's self, and spreads to a society. Through this fictional specificity, he embodies an analogy between a bad faith and social role-playing. That is, he shows, through the main characters such as Milly Theale and Merton Densher, how self interacts with the other and a society. In this interaction, there is some essential element, namely, an organic relationship between a self identity and a social role-model, which James describes very meticulously. Therefore, the characters are depicted as seeking to define self identity and eventually distorting it. Thus, The Wings of the Dove can be seen as a tragedy in which the characters who have this wrongly distorted self identity come to experience its effects. The distorted self identity appears to function as a social role. Milly distorts her true self identity by internalizing a dove-image for it. This results in a bad faith. Moreover, the American girl Milly utilizes it as a convenient social role-model which makes it easy for her to interact and engage with the others in the European society. Merton also evades adventurous and painful self-reflection and self-criticism by sticking to the mannerisms of gentlemanship and imitates the sublimity which Milly shows him. Thus, Milly and Merton clearly omit self-inspection and self-inquiry for the contact between a free self and a society, which is essential to obtain social objectivity, namely, intersubjectivity.

• English & American cultural studies
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• v.9 no.1
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• pp.141-162
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• 2009

"Brokeback Mountain" deals with the love story between two homosexuals named Ennis and Jack. They never do use the word 'homosexual' but instead 'love.' They hide their love into the closet. And they conform to socially constructed gender roles. It is because they recognize that social order has punished the homosexuals severely through history. Especially, Ennis fears the homophobic heterosexual gaze. Through his paranoia, this article examines the conventional contradictory social order causing by the tragic story that is the homosexual "closet phenomenon." Such a phenomenon has resulted from the traditional patriarchal family system that is the central unit of society. Conventionally, patriarchy consists of a dominant male and non-dominant female system, based on force. Sexuality has been constructed, experienced, and understood in culturally and historically specific ways. Homosexuality has been imaged conventionally as a female disguised as a man. As such, homosexuality would violate and break such a constructed system that keeps the sexual hierarchy through male dominant construction. As homosexual, ironically with macho gender personas, Ennis and Jack are social outsiders. Through this story, Proulx suggests the conventional fixed social order is contradictory and, therefore forces the readers to re-consider the world and ponder about the future.

• International Journal of Advanced Culture Technology
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• v.10 no.2
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• pp.86-91
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• 2022

The purpose of this study is to study the tragic world perception that appears in Kim Sung-han's novels 'Frogs' and 'Five Minutes'. The main emotion that emerges in his novels in the 1950s is non-polarity. His novels "Frogs" and "Five Minutes" satirically express the relationship between God and humans, and the human figure in comparison to animals In the 1950s, in Korean society, individual lives were distorted in postwar situations, and the relationship between individuals and society was inconsistent. Kim Sung-han wanted to create new ethical and social values through novels. In "Five Minutes" and "Frog," Kim Sung-han expresses and criticizes the crisis in Korea's post-war society as a tragic reality that God has no ability. In the novel, Kim Sung-han criticizes the degenerate reality of humans without God and criticizes the slave grit of humans who cling to God. After all, what he wants to say in the novel is the perception of human free will and existence. In the two novels, the author talks about a tragic world perception that denies the realm of God, but finds out that there is no other world to live a new life that denies God.

• Journal of English Language & Literature
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• v.58 no.4
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• pp.633-653
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• 2012

This paper discusses the two major Korean Shakespeares, Kim Myung-Gon's King Uru and Oh Tae-Suk's Romeo and Juliet, in answer to the request made by Stanley Wells at the 2006 Craiova Shakespeare Festival: theatre practitioners should have 'something worthwhile to say' before they put something of their own in Shakespeare's place. Kim and Oh, who have won international acclaim for their adaptations, present 'something worthwhile to say' by bringing Shakespeare to the world in the light of traditional Korean astronomy. The star map named 'Cheonsang yeolcha bunya jido,' which was founded in 1395 and designated as the No. 228 National Treasure of Korea in 1985, is employed as a means by which to bring 'something worthwhile to say' to Shakespeare: it works as a symbol of the cosmic power to restore the divided kingdom and strengthen the kingly power in King Uru; its concept of Hyeonmu, the northern seven lodges of the twenty-eight constellations, is associated with the deaths of not only the lovers but also the whole members of their families in Romeo and Juliet. It is representative of the sunny, light and fiery force of yang in King Uru, whereas of the shady, dark and watery force of yin in Romeo and Juliet. Thus these two productions differ in their approaches, although they make the relevance of traditional Korean astronomy recognizable by redrawing the bounds of Shakespearean tragedy genre: King Uru reminds us of the human capacity for self-recovery, while Romeo and Juliet the human capacity for self-destruction.

• Journal of English Language & Literature
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• v.58 no.1
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• pp.69-91
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• 2012

Marina Carr's By the Bog of Cats.... (1998) is the last play of the trilogy of "the midlands plays" which can be regarded as her re-writing of both Euripides' Medea and J. M. Synge's The Playboy of the Western World by resetting the two plays in the midlands of contemporary Ireland. Carr intends to courageously explore into the dangerous liminal space, i.e., the middle between the past and the present, the high Greek and the Irish folk culture, dealing with the ghosts of the dead writers for her own Irish feminist theatre. Thus, in the middle Carr can build a new Irish theatre by minorating and abjecting the Greek tragedy and subverting and expanding Synge's theatre of grotesque realism. This paper attempts to read By the Bog of Cats... as Carr's final project of exploration into the midland of Ireland to establish a new Irish feminist theatre and at the same time a new Irish folk theatre. By focusing on her strategies of minoration and subversion through grotesque imagery and carnival rituals it argues that Carr put Hester's becoming-ghost in the middle, the bog of the cats as both grave and womb, waiting for the birth of a new Irish people. And it emphasizes that the ghost of Hester, merging with the ghosts of her mother and daughter by the bog of cats will haunt the official society as a threatening abjection, challenging the restoration of the social order.