Seong Je Kim

The novel My Wife Got Married plays games of the confluent love with its readers. The heroine In-A, Deok-Hun’s wife, got married to Jae-Kyong, and she wants to live with two husbands. Her performance of confluent love and polyandry challenges the readers’ thought of traditional marriage relations. So, the signifying practice of this writerly text depends upon the readers’ response to In-A’s games of plastic sexuality. The signification of In-A is not completed within the narrative of the novel.

An analogical reading of socio-historical context of Harold Pinter???s The Caretaker employs some postcolonial discursive analyses of postimperial British capitalistic interests in their post war reconstruction. It is also concerned with causes of so-called broken society. The Caretaker dramatizes minimal actions: a tramp is invited by the elder brother; a job as caretaker is offered; he is reluctant to accept the first offer by the elder brother, but is willing to the second by the younger; eve

Juliet’s monologue, “That which we call a rose / By any other word would smell as sweet. . . .” in Romeo and Juliet, Act Ⅱ, scene 2 evokes some postcolonial problems of symbolic order of colonial modernity. Her rhetoric of subjunctive mood tries to express her domesticated desire and envisages her wish for the transformation of the Father’s law in Verona. Colonial discourses became the Father’s law constructed for the exploitation of the colonized, manipulating the difference of name, race or na

In Death and the Maiden, the personal and the political are so intertwined that memory, truth, love, and violence are all on trial as the three characters circle each other with accusations, denials, and piercing questions. This dramatic discourse makes the audience suspend their disbelief if Death and the Maiden is intended as a historical document. However, Dorfman’s play and the movie directed by Polanski are less a record of injustices in the past than an attempt to imagine how such wrongs c

Tom Stoppard’s stage play Indian Ink is an adaptation of his own radio drama In the Native State. The two dramas foreground the conversation between a British female poet and an Indian male painter, backgrounding colonial India in the 1930s, when Indian civil disobedience and independence movement against British Empire arose and developed seriously. Stoppard appropriates post-colonial studies and deals with various colonial/imperial issues. However, Stoppard’s ‘post’-imperial representation mim

This paper aims to clarify the issues surrounding the ‘Englishness’ of English literature. The authors believe that the problems can only be evaded, if not exacerbated, by disingenuously shifting the definitional focus of English literature from territoriality to language. Redefining English literature as literature written in English cannot properly address the problem of anthologizing and canonizing. Instead, the very conceptual category of English literature, as embodied in canons and antholo