Jeong Soo Hwang

Antoinette Cosway Mason in Jean Rhys’s Wide Sargasso Sea (1966), whom her English husband later calls Bertha—the name of a mad white Creole woman in Jane Eyre—has been a focus of discussion of Rhys’s novel, particularly regarding her madness and its implications of feminism and (post)colonialism. However, although largely neglected, depicting the post-emancipation British West Indies around the 1830s, Rhys represents various forms of physical and mental symptoms of madness, expressed not just by

Cormac McCarthy’s No Country for Old Men (2005) depicts a 1980s Texas border town as an Anglo-American community attacked by Mexicans, whose presence McCarthy indicates mainly through drugs and violence. By analyzing McCarthy’s archival drafts and revisions, and contextualizing the representation of Mexicans in the post-9/11 southern border reality, I reveal how the novel, composed and published between 2003 and 2005, embodies a 9/11 subtext.

Set on New York City’s 47th Street, Don DeLillo’s Cosmopolis juxtaposes the protagonist’s futuristic and utopian vision of cybercapitalism with today’s conflicting local realities: violent protests against this vision, the poor, and wounded immigrants in lower social and economic positions. Although largely neglected, depictions of the street and immigrants are crucial for DeLillo’s critique of the world of cybercapitalism. By incorporating DeLillo’s archival papers—his reading materials and not

Set in a small mining village in the Democratic Republic of the Congo (Congo) during the second civil war (1998–2003), Lynn Nottage’s Ruined (2008) depicts Mama Nadi’s bar in a warzone in eastern Congo, which she runs as a brothel with rape victims, such as Josephine and Salima, and a ruined girl, Sophie. These rape victims ironically work as prostitutes in the bar for soldiers (government militia) and rebels, both of whom rape civilians. The bar is relatively safe compared to the outside where

셰익스피어의 <오셀로>는 이아고(Iago)가 실전 경험이 없는 카시오(Cassio)를 자기 대신 중위로 임명한 상관 오셀로와 ‘여성스러운’ 카시오를 비난하는 것으로 시작한다. 이때 이아고가 결혼을 하지 않은 카시오를 비난하며 한 말&#8212;“A fellow almost damn’d in a fair wife” (I, i, 21)&#8212;은 극이 공연되던 16세기에 널리 사용되었던 속담이나 카시오 혹은 오셀로와 연관지어 다양한 의미로 해석되어왔다. 그러나 이러한 연구들은 이아고의 대사에 내포된 남성중심적이며 여성비하적 사고에 대해 많이 다루고 있지 않으며, 무엇보다 “a fair wife”로 극에 등장하는 데스데모나를 의미해석에서 배제해왔다. 본고는 라캉과 지젝의 케 보이?(Che vuoi?) 이론을 통해 셰익스피어가 극의 도입부에 위치시킨 이아고의 대사를 데스데모나와 연관지어 살펴보고, &#1097399;오셀로&#1097400;에 재현된 비극의 원인에 대해 새로운 해석을 제시

Henry Louis Gates in The Signifying Monkey: A Theory of African American Literary Criticism (1988) examines the significance of the Signifying Monkey, a trickster figure in African folklore, and whose manner of speaking produces uncertainty and double meanings. He examines how the specific language usage of the Signifying Monkey is altered and appears in African American texts by analyzing the trope of the talking book in early slave narratives and contemporary African American literary works. G

Samuel Beckett’s Endgame (1957) was originally published and performed in French, entitled Fin de Partie, and translated to English by Beckett himself. It is a one-act play with four characters: Hamm, Clov, Nagg, and Nell confined to a shelter, where there is nothing to eat except the last few biscuits in the cupboard in the off-stage kitchen. “Endgame” is a term in chess that refers to the final stages of the game where only a few pieces remain on the board, and Beckett himself stated that he e

Focusing on American/Western point of view and the impact of 9/11 on America(ns), most canonical 9/11 literature emphasizes the trauma suffered by “innocent” America(ns) and the unrepresentability of the event, ascribing the terrorists’ motivations to religion, Islam, while overlooking America’s long-standing political, military, and economic intervention in the Middle East. John Updike’s Terrorist (2006) tries to reject the dominant narrative. In his attempt to reject the popular representation