손영주 교수

Acknowledgments Introduction Part I. Rewriting Private and Public Spaces Introduction Chapter One 1. anguish of the home discord: Refiguring Domestic Space in Sons and Lovers 2. Reversing Gender and Space in The Rainbow Chapter Two 1. Refiguring Domestic Space: Sketch of the Past and Mrs. Dalloway 2. Spatializing Feminism 3. Remodeling Public Space Part II. Remolding Home and Nation Introduction Chapter Three 1. Revisiting Home/Nation 2. Imperialism and the Discourse of Home 3. Demolishing Home/

Taking a cue from J. M. Coetzee's analysis of Erasmus's (non)position in the essay, “Erasmus: Madness and Rivalry,” this paper examines the question of the ethics of writing and reading in Elizabeth Costello. Coetzee's view of the limits and possibilities of the Erasmian (non)position -- meaning “off the stage of political rivalry” in the era of political turmoil -- sheds much light on the writer-protagonist Elizabeth Costello's position in the novel, as well as that of Coetzee's own in postcolo

The “ethical turn” in literary criticism that has increased since the 1990s is highly relevant to readings of Ian McEwan’s recent novels. Besides the author’s own emphasis on morality and the ethics of the novel on various occasions, many critics, particularly those who address McEwan’s oeuvre in relation to the tradition of English realism, directly or indirectly focus on the narrative ethics and/or morality of McEwan’s fictions. The debate over the moral implication of Saturday is extremely po

Challenging the age-old assumption of the division between the concept of form in Western metaphysics from Plato to Kant and the Hegelian/Marxist notion of the term, this paper argues that Woolf’s concept of form anticipates and even pushes one step further the dialectical notion of totality. A close reading of Woolf’s observations concerning form enables us to see that Woolf in fact significantly deviates from Bloomsbury art critic Clive Bell’s notion of significant form and his overall aesthet

Largely drawing upon recent theories of social space this paper explores the function and meaning of various spaces in D. H. Lawrence's The Rainbow. As Henri Lefebvre and others have noted our understanding of space as a naturally given, homogeneous locus is in fact socially, historically, and ideologically constructed. Far from being a neutral and empty background where history and narrative unfold, every space “implies, contains, and dissimulates social relationships.” As such, social space is