• 수완나부미
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• 제15권2호
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• pp.131-152
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• 2023

In analyzing the Chinese diaspora, this paper explores losses that are encountered within the family in the nation. It argues that increased social and spatial mobilities that contribute to losses can be reconfigured through the productive lens of supermobility, as Laurence J. C. Ma conceptualizes it. Supermobile identities are significant avenues to consider the way that losses traditionally associated with migration and assimilation are revisited in view of new flows of migration and identification. In examining K. H. Lim's debut novel Written in Black (2014), this study addresses pathways from debilitating losses to productive losses journeyed by the family from the child's perspective. It offers a critical analysis of the Anglophone Bruneian novel in terms of its exclusive portrayal of an ethnic Chinese family. Departing from a fixed notion of home as cultural and physical rootedness, it explores flexible identities that are tied to shifting concepts of belonging. Rather than a magnification of social and spatial losses, the analysis highlights the way that the literary imagination of ethnic Chinese in Brunei Darussalam accommodates progressive ideas of the agency and advancement of the Chinese diaspora as a supermobile community.

• 인문언어
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• 제8집
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• pp.151-173
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• 2006

Even in this current high-tech industrial age, mythological imagination is considered important. Although each mythology scattered all across the world may have an insignificant origin, to understand that particular society fully, one must not mistakenly assume that the mythology itself is a production of a primitive mind. Ultramodern physics and futurology professor Freeman Dyson has also acknowledged this opinion. He insists that in order for human kind to survive into the far future it most keep in touch with its far past. Levi-Strauss also observes that mythology and science aren't a entirely separate domains. The scientific mind is regarded as a source of understanding the intrinsic qualities of mythology. Taking mythology and science as a binomial opposition, and only weighing their prospects, should be put to the past as we should recognize the need for mythology and science's qualitative unification. In this new point of view, regarding mythology as a meaningless irrationality should cease, while finding out why the inevitably related world of mythology needs metaphoric, ideological consideration. By utilizing 'Whale Rider' by Witi Ihimaera(2004) we will discover why our lives require an 'image' that is borrowed from our experience. The author, Witi Ihimaera, is originally from the Maori tribe, who approaches the world with a mythological imagination, which is not easy to understand with scientific thinking nor in modern civilization. When looking into the mythology of the ocean which still lives in modern civilization, while noting that the world is one, the author indicates that reality and unreality, nature and the super-natural, present and the past, science and fantasy, were not divided from the beginning. However, overtime humans have divided the borders. To do this, the author interprets the ancient emotions of the Maori tribe which have been traditionally accumulated in the group identity in a new literary way by introducing the Maori tribe's ancestral god, Paikia, who can converse with the ocean and the whales. This piece, which has been made into a movie and won awards in 5 international film festivals, including the Toronto International Film Festival, regards primitive emotions as a rational concept instead of an instrumental concept. Also these primative emotions are continuing their attempts to communicate with nature. Furthermore, it advises contemporary human beings who seek for eternal life to not exploit the cultural differences that have been formed naturally, and it is vital for human beings to transcend the ethnic boundaries and to think rationally. In the story, we can find "the dissimilar us" that philosopher E. Levinas mentioned in his sayings, which refers to responsible human beings who devote their lives for the sake of other people instead of fulfilling their own needs.

• 비교문화연구
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• 제34권
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• pp.93-114
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• 2014

Gaston Bachelard had a revolutionary progress in the field of human understanding by proposing his theory of image and imagination. His theory of the new image was so powerful, almost all areas of human science, particularly that of literary criticism, were strongly influenced and this influence continues until today. Today almost everyone accepts his theory of the image without much objection, but not rarely asked where began his transfer from the philosophy of science to the images. We propose a hypothesis that the beginning of the new concept of Bachelard's image was inspired by studies of contemporary science, especially quantum mechanics. The Heisenberg's uncertainty principle was the core of quantum mechanics, and opens new perspectives on the material world. We could summarize the message of the uncertainty principle : the material world is made up of various layers, and the material can not be measured by the location and movement at the same time. So we must have a new point of view of another dimension to know this material world. Bachelard had accepted this view of Heisenberg and developed his own theory of epistemological rupture. What is revolutionary in the theory of Bachelard's image is the fact that he looked at the images with the new perspective. The human psyche is another world compared to the rational world that dominates our daily lives. Bachelard insists that the image can not be explained by the concept. The fantasy world is a totally different world to that of rationality. That is why it can not be explained by the language of rationality as the concept. The imaginary world exists independently of the real world, but it is superimposed on the real world. These two worlds are influencing each other, and it is between these two world where our daily lives continues. The declaration of Bachelard 'image is a specific reality' is never a metaphor or rhetorical expression. This is an ontological expression that must truthfully. The imaginary world is a world built on the image and it works according to its own law. It is not a representation or copy of the real world. But the world of imagination are not alone. It exists in the same time and space with the world of science. It is superimposed with the world of science. Both two world influence each other. Bachelard has made a revolutionary change by studying the images. He gave them their own place. It has changed the views on the images that were treated as mere representations of reality. Thanks to him, the image can have its own value, that of a factor that creates reality. Bachelard shows how we can go deep into the source of being and the universe if we look at the pictures with the eyes of other dimensions.

• 동양고전연구
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• 제70호
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• pp.185-210
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• 2018

본고는 이한진 편 "청구영언(靑丘永言)"의 편찬자인 경산(京山) 이한진(李漢鎭)(1732~1815)의 <속어부사(續漁父詞)>가 이한진의 문예 활동과 풍류적 지향, 그리고 조선 후기 사족들의 산수(山水) 와유(臥遊) 취미를 배경으로 창작되었으리라 보고 <속어부사>를 살폈다. 이한진은 외가인 안동(安東) 김문(金門)의 혈연을 바탕으로 연암 일파와 교유하였는데, 이들의 풍류 현장에 대한 기록에서 이한진의 음악적 기질과 풍류적 지향을 알 수 있었다. 이한진은 노년에 경기도 영평에 은거하였는데, 이때 편찬한 가집인 이한진 편 "청구영언"에 수록된 작품들의 주제적 지향과 이한진이 창작한 시조 작품들에서도 역시 이한진의 풍류적 모습이 확인 되었다. 한편 조선 후기 경화사족(京華士族)들은 번화한 도시 공간을 떠나 자연 속에 머물 수 없는 자신들의 현실적인 문제를 산수 자연을 추체험함으로써 극복하고자 하였는데, 그것이 바로 와유(臥遊)였다. 이들에게 산수 유람의 실제 경험 유무는 그리 긴치 않은 문제였으며, 이들은 효과적인 와유를 위해 제 문예 장르를 적극적으로 활용하였다. 이한진과 그 주변 인물들의 문예 활동은 이 같은 당시의 문화적 분위기 속에서 이루어진 것이었다. 이한진이 경기도 영평에서의 산거(山居)에도 불구하고 <속어부사>를 창작한 것 역시 현재 자신이 경험할 수 없는 하나의 자연 형상을 좀 더 효과적으로 추체험하기 위한 것이었다. 때문에 이한진의 <속어부사>는 어부 형상을 소재로 한 여타의 국문시가에 비해 좀 더 초속적인 자연 형상이 그려졌다. 실재의 자연 형상을 볼 수 없다는 현실적 정황과 그럼에도 불구하고 이를 핍진하게 묘사하여 효과적인 와유를 가능케 하고자 했던 욕망 사이의 긴장은 집구시의 성격을 강하게 띤 <어부사>라는 형식 안에서만 해결될 수 있었던 것으로 보인다.

• 대순사상논총
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• 제35집
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• pp.1-37
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• 2020

본고에서는 『전경(典經)』의 강증산(姜甑山) 언설에 수용된 신화와 문학 자료를 대상으로 그것들이 『전경』 텍스트의 고유한 종교 신학적 맥락 안에서 어떻게 의미화 되었는지, 그 전유(專有)의 상황과 원리를 고찰해 보았다. 먼저 『전경』에서의 신화 수용을 강태공(姜太公), 사명(司命), 치우(蚩尤), 우사(雨師), 조왕(竈王), 망량(魍魎), 개고기, 동도지(東桃枝) 등을 대상으로 살펴보았는데 이들 중의 상당수가 동이계(東夷系) 신화와 상관되며 민간에 깊게 뿌리를 둔 습속이라는 사실이 주목된다. 이는 강증산의 단학파(丹學派)적 성향, 수정주의적 역사의식, 민중의식 등과 상관된다. 다음으로 『전경』에서의 문학 수용을 시와 산문, 소설로 나누어 살펴보았는데 시의 경우 강증산의 시재(詩才)와 취향에 바탕하여 당시(唐詩), 창작시 등이 수용되었고 산문, 소설의 경우 『서경(書經)』, 『사기(史記)』, 『삼국연의(三國演義)』, 『서유기(西遊記)』, 『서주연의(西周演義)』 등이 수용에 상당한 영향을 주었음을 알 수 있었다. 이들은 예언, 치병, 수련 등의 다양한 방식으로 운용되었는데 고전 명구(名句)나 소설이 지닌 대중적 감화력이 이 과정에서 종교적으로 전유되어 힘을 발휘했음을 알 수 있었다. 마지막으로 『전경』에서 신화, 문학적 상상력이 어떤 메카니즘에 의해 증산 신학으로 전화되었는지를 살펴보았는데 문자와 이미지의 주술적 역량, 시가 문학의 감성인식 기능과 표현 특성, 미메시스의 재현 혹은 창조 능력 등이 신화, 문학적 상상력뿐만 아니라 공사 거행에 대해서도 적극적인 기능을 발휘하였음을 알 수 있었다. 이들 3가지 설명 기제(機制)는 『전경』 언술의 의미화 과정을 파악하는 데에 일정한 기여를 할 수 있을 것으로 사료된다. 종합하면 강증산의 삼교합일적, 회통적 인식을 바탕으로 전개된 신화, 문학적 상상력은 지배문화의 정통론적인 관념을 돌파하여 증산 신학의 민중성, 보편성을 구현하는 데에 일조하였다. 아울러 그것은 강증산의 구세 이념을 광포(廣布)하는 데에 큰 역할을 했을 뿐만 아니라 고유의 종교 법술로 변용되어 공사 수행의 중요한 방편으로 기능하였다.

• 영어영문학
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• 제58권2호
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• pp.217-247
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• 2012

This essay attempts to read Melville's Moby-Dick as a prefiguration of American pragmatism, especially Jamesian version of it. Underlying this project is the assumption that the American Romance and James's pragmatism partake in the enduring tradition of American thoughts and imagination. Despite the commonality in their roots, the continuity between these two products of American culture has received few critical assessments. The American Romance has rarely been discussed in terms of American pragmatism in part because critics have tended to narrowly define the latter as a kind of relativistic philosophy equivalent to practical instrumentalism, political realism and romantic utilitarianism. Consequently, they have favored literary works in the realistic tradition for their textual analyses, while eschewing a more imaginative genre like the American Romance. My contention is that James's version of pragmatism is a future oriented pluralism which is unable to dispense with the power of imagination and the talent for seeing unforeseen possibilities inherent in nature and culture. James's pragmatism is in tune with the American Romance in that it savours the attractions of alternative possibilities created by the genre in which the imaginary world is imbued with the actual one. The pragmatic impulse in Moby-Dick finds its finest expression in the words and acts of Ishmael. Through this protean narrator, Melville renders the text of Moby-Dick symbolic, fragmentary and thereby pluralistic in its meaning. With his rhetoric of incompletion and by refraining from totalizing what he experiences, Ishmael shuns finality in truth and entices the reader to join his intellectual journey with a non-foundational notion of truth and meaning in view. Ishmael also envisages pragmatists' beliefs that experience is fluid in nature and the universe is in a constant state of becoming. Yet Ishmael as the narrator of Moby-Dick is more functional than foundational.

• 영어영문학
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• 제56권1호
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• pp.79-101
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• 2010

In "The Animal That Therefore I Am (More to Follow)," Derrida notices that he is being watched by his cat. He becomes ashamed of being naked in front of his cat. The sense of shame is a response to being reduced to the level of an animal. He is ashamed of being as naked as an animal. His next move is, therefore, to cover his nakedness from the gaze of his cat. By contrast, he realizes, the animal is not self-conscious of being naked and so does not shield its nudity. In a truer sense, then, the cat is not naked. Humans do not see animals for what they really are but what they project on them. Whereas the gap between man and animal is clearly identified by Derrida's philosophical discourse, the possibility of going beyond the gap can be suggested by fantasy stories in children's literature. Children's literature in Britain arose in the eighteenth century with the revival of traditional fairy tales and growth of literary fairy tales. Romanticism in the early nineteenth century contributed to opening up a new horizon for the concept of the child, in which the child is no longer defined as the object to be tamed and childhood imagination is glorified as a powerful means to reach the higher state, the spiritual origin prior to separation of Man from the 'thing-in-itself.' In The Wind in the Willows, animals talk and behave like humans. The anthropomorphic figuration of animals can be understood as a result of the one-sided projection of anthropocentric perspectives on animals rather than an interaction between humans and animals. Significant contradictions also emerge in this story, however, as traits particular to animals are vividly delineated even as the main didactic theme of good triumphing over evil reflects an anthropocentric projection on animals. An attempt to capture the true characteristics of animals and locate them in the text constitutes a remarkable achievement in The Wind in the Willows. This can be evaluated as an important step toward a more ecopocentric perspective on animals which appears in later children's fantasies like Charlotte's Web.

• 영어영문학
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• 제56권2호
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• pp.219-236
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• 2010

As a poet, a reviewer of books, and an editor of a major literary journal, Marianne Moore participated in aesthetic revolution which invented the American poetry of the twentieth century. Of all the modernists, she was one of the few truly technical originals, and became an endearing mascot of poetry. Innately attentive to detail, Moore wrote a myriad of poems about animal and plant subjects, and set out to develope and secure her own particular paradigm for modernist poetic and the poetry of objective and scientific description. Foregrounding a mind scientifically trained, Moore used her verse to demonstrate a means by which to see the reality beyond the obvious. Ironically enough, however, a central difficulty with understanding Moore's poetry lies with her concern for such scientific or surface description and precision. In order to understand Moore's poetry fully, it is of special necessity to appreciate relativity among the seemingly disparate entities such as science and literature, as Moore herself did. This paper explores the way in which the poetic techniques of Moore substantiate her sense of morality that underlies the creation of her poetry. Rather than merely addressing her artistic genius or craftsmanship as a modernist poet, Moore's methods engage the power of imagination, magic, lifting the human spirit and eschewing anthropocentric perspectives. For Moore, the poet's magic comes by diligence. In so doing, as I would argue here, Moore draws on the nature of language, especially what Bakhtin insisted with his notions of polyphony and carnival. By introducing openness to various perspectives and meanings in her verse, Moore succeeds in maintaining her own sense of creativity while continuing to acknowledge morality. In a similar skein, her use of active verbs in animal poems and the kaleidoscopic descriptions demonstrate how Moore accommodates imagination and reality, and form and content.

• 영어영문학
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• 제54권4호
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• pp.561-577
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• 2008

L.M. Montgomery's Anne of Green Gables is not only confidently labelled a Canadian classic but also placed as a national icon along with the moose, the beaver, and the Habs in Canada. Anne's 'Canadianness' is partly due to its location in the rural world of Prince Edward Island. The fictional Avonlea is described as the ideal space where Canadian spirit can interact with the personified surrounding landscapes through Celtic imagination. Additionally, the communal bond of Avonlea fully demonstrates Scottish Canadian identities. The Scottish national character of Avonlea is responsible for clannishness of the Cuthberts and the Lyndes. The disrespect to the French is also due to Scottish heritage in Avonlea. As an outsider Anne wants to be integrated into the community of Avonlea, and successfully adapts herself to the regional shared values. Meanwhile she partly challenges the strictness and rigidness of the born Canadian Avonlea residents. Despite its Canadian origin, Anne of Green Gables is accepted as part of the American canon of children's literature in the Unite States. The configuration of Anne as an American heroine is noticeable among American scholars: by relocating it to the US the female Bildungsroman in the nineteenth century America, a group of literary critics adapt Anne as an American girl for American readers. The heroine of Anne of Green Gables is linked to American novels such as Louisa May Alcott's Little Women, Kate Douglas Wiggin's Rebecca of Sunnybrook Farm and Gene Stratten Porter's A Girl of the Limberlost. Anne is even classified as another Caddie by American literary critics: Anne is placed at the center of Caddie Woodlawn Syndrome as another Wisconsin pioneer child. Canadian identity of Anne is intentionally excluded and Anne was reborn as an American girl in the U.S. In this context, Anne functions as a sign of nation and a site for cross-national identity formation.

• 영미문화
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• 제14권2호
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• pp.77-96
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• 2014

As the cyberspace several decades ago created a cyber fiction fever, the augmented reality as the future of imagination can generate another kind of literary genre and new social ambiance where books tend to come to life more realistically. This newly created "smart fiction," "smart movies," and "smart environment" will be full of fun, hopes and conveniences. But addiction to smart kinds will create unwanted dangerous plethora like ghost-like avatars, wild animals and Farid due to the limitations of human control over hi-technology. If so, the adventures we plan to take will turn fantasy into horror in no time. Instead of loving new scientific things blindly, the emphasis hereafter must be put rather on the potentially negative aftermaths of the new innovative technology. Some viewers after watching the film Avatar are still suffering from the syndrome called "avatar blues," a homesick for Pandora. After their experiencing of the experimental 3D effects in books and media, audience and readers are required to actively deal with the increased lack of the darker cave which the comparatively unsatisfactory present can never fill with fixity and limit. Like the prevention against the addictive online game or the manual of 3D television or 3D printer, the extreme off-limits and safety zone for this virtually and expendably subverting technology must be seriously reviewed by community before using and adopting it. Also, these technologically expanded and augmented environments must be prudently criticized by the in-depth study of literature just as cyber space begun by Gibson's cyber fiction and its criticism.