The Criticism and Theory Society of Korea最新文献

{"title":"The Tragedy of the Servant Class and the Failure of Matthew Arnold’s Culture in Henry James’s Novel: Focusing on “Brooksmith” and The Turn of the Screw","authors":"Hyoseok Lee","doi":"10.19116/theory.2023.28.1.187","DOIUrl":"https://doi.org/10.19116/theory.2023.28.1.187","url":null,"abstract":"The purpose of this study is to analyze the tragedies of two main characters in Henry James’s “Brooksmith” and The Turn of the Screw based on the Arnoldian concept of ‘culture.’ The main characters of both works, butler and governess, are tragic characters who serve their masters but fail to join the master’s world or its class despite their trial and passion. “Brooksmith” is a kind of artist who hosts retired diplomats and allows guests to have a high level of intellectual conversation with each other, but it is just another aspect of the servants who revolve around the nobility and never get into the world of British society. The governess of The Turn of the Screw manages to control the master’s house and protects the two young children of the Bly from the ghosts of Peter Quint and Miss Jessel. She seems to have done her job well at first glance, but her destiny seems to be similar to that of Brooksmith, for she disappears from the world of the master in spite of her successful job. This study shows the irony of the British order based on the solid cooperative relationship between the upper class, the master and the lower class, the servant. The fate of Brooksmith depends wholly on Mr. Offord’s life and death, and the role of the governess on the master’s absence. Even though it seems that the flamboyant British society was not possible without these sacrifices and substitutes, their masters gave them the gaze of ‘the uncanny.’","PeriodicalId":409687,"journal":{"name":"The Criticism and Theory Society of Korea","volume":"158 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-02-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121680617","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Writing the Anthropocene: Environmental Crisis and Oceanic Imaginations in Ruth Ozeki’s A Tale for the Time Being","authors":"Yeonhaun Kang","doi":"10.19116/theory.2023.28.1.5","DOIUrl":"https://doi.org/10.19116/theory.2023.28.1.5","url":null,"abstract":"By situating “transpacific” as a critical space that allows oceanic exchange between Japan and Canada, the past and the present, and human and nonhuman, this essay critically examines how Ozeki’s third novel, A Tale for the Time Being (2013), helps us apprehend “slow violence,” one that is hard to see or feel due to the workings of time and distant locations. While mainstream Anthropocene discourse has tended to focus more on the perspectives of white elites, writers and scientists based in the Global North, Ozeki’s novel draws the reader’s attention to the fluidity of oceanic movements and intentionally blurs the boundaries between human history and environmental history, especially the links between nuclear bombing in Japan during the World War II and the Fukushima Daiichi nuclear disaster in 2011, in order to emphasize a complex crisis for both human and nonhuman on a planetary scale. Building on what Elizabeth DeLoughrey terms “the oceanic turn” in literatary studies, I argue that Ozeki’s A Tale for the Time Being challenges and works to decolonize the discourses of the Anthropocene and thus invites us to imagine more just and sustainable environmental futures for the more-than-human world.","PeriodicalId":409687,"journal":{"name":"The Criticism and Theory Society of Korea","volume":"34 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-02-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126942922","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"World Literature and the Problem of Modernity","authors":"Yong Gyu Kim","doi":"10.19116/theory.2023.28.1.29","DOIUrl":"https://doi.org/10.19116/theory.2023.28.1.29","url":null,"abstract":"This paper aims to critically examine the problem of modernity in world literature and, more specifically, in the theory of world literature by Frederic Jameson, Neil Lazarus, and Nicholas Brown, who have formulated a new concept of modernity against Western modernity. For a long time, world literature has been regarded as a field in which the ideas and values of Western modernity were embodied. This led to the negative labeling of non-Western literature as less worldly and more local literature that falsely imitates the modernity of Western literature. So the problem of modernity, such as how to overcome Western modernity and rethink the concept of modernity radically, has become one of the essential issues in the recent theories of world literature because we can not achieve the further development of world literature without properly criticizing the existing concept of Western modernity. What is interesting in Jameson’s idea of singular modernity and Lazarus and Brown’s theory of world literature is that they criticizes the Western conception for modernity and suggests the new concept of modernity that pays attention to the proper problems of capitalism rather than the West. Moreover, their theory pursues for a new political reading on the modernity and universality of literature, overcoming the dichotomy between central and peripheral, western and non-western. Their theory of world literature has also significant implications for us who have been strongly influenced by Western modernity. It makes us realize that our own literature can be world literature when we thoroughly explore our own modernity and the problems of capitalism. It also recalls us the basic fact that world literature is a literature that can search for political possibilities in the modernity of our own world and its internal contradictions and cracks.","PeriodicalId":409687,"journal":{"name":"The Criticism and Theory Society of Korea","volume":"44 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-02-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116276189","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"그래픽 서사에 대한 문학 비평으로서의 에크프라시스","authors":"S. Kim","doi":"10.19116/theory.2023.28.1.345","DOIUrl":"https://doi.org/10.19116/theory.2023.28.1.345","url":null,"abstract":"This article is projected to examine the legitimacy of literary discourse regarding the study of comics or graphic narrative. Graphic narrative, as an inclusive term encompassing comics and the graphic novel, has been left on the mere periphery of serious literature or dominant literary discourse, or simply denied its legitimate status. Against this main stream, Hillary Chute, in her recent studies of graphic narrative including Why Comics? From Underground to Everywhere (2017) along with the scholarly minds sharing her critical and theoretical insights, has created a different kind of flow constantly disrupting the establishment of literature. The critic has opened up the possibility of serious critical discourse regarding graphic literature with the particular notions of materiality, immediacy, and ekphrasis. Materiality involves hand-drawn images or visual devices, and verbal elements imbedded on the pages of graphic story-telling. The visual is stylistically blended with the verbal, constituting the visual narrative around frame, panel, gutter, tier, etc. In the process of creating comics, the author undergoes the experience that involves their own bodies with pen and canvas. So, how the author fabricates the form of graphic narrative depends on their own particular style of recognizing and enacting materiality. We also need to understand that the embodied materiality prompts the immediate experience of the reader just as N. Katherine Hayles explains the concept as “the interplay between a text’s physical characteristics and its signifying strategies.” The reading experience of encountering the materialized text evinces the efficacy of directedness or immediacy. Graphic narrative presents to the reader a direct and immediate experience with its visual and mechanical means and its rules of linguistic usage. Therefore, Chute’s critical strategy of graphic narrative comes down to the idea of rhetorical ekphrasis which is concerned with descriptive aesthetics. That means that ekphrasis is postulated here to illuminate the critic’s particularized surface-reading experience as their criticism of the visual narrative instead of symptomatic-reading.","PeriodicalId":409687,"journal":{"name":"The Criticism and Theory Society of Korea","volume":"100 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-02-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131228714","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"‘Bare Life’ and Judith Butler’s Misinterpretations:A Critical Review of Butler’s Intervention and a Comparative Study on Diaspora’s Identity","authors":"S. Lee","doi":"10.19116/theory.2023.28.1.157","DOIUrl":"https://doi.org/10.19116/theory.2023.28.1.157","url":null,"abstract":"Giorgio Agamben’s ideas of sovereign power and ‘Homo Sacer’ received a lot of criticism because the decline of nation-states due to globalization tends to be equated with the weakening of sovereignty. Especially, Judith Butler argues that the process of removing the heterogeneity within the citizens to invent those who are the foundation of the nation-state cannot be explained by the operation of sovereign power and the mass production of ‘bare lives’ presented by Agamben. Butler explains the ‘statelessness’ in the sense that the situation of global violence is out of territorial conditions, and also highlights the ‘statelessness’ to deconstruct the basis of the nation-state and explore the possibility of resisting it. According to her, given the diaspora produced across territories and the operation of power, this violent exclusion today is caused by neoliberal governmentality, not sovereign power. And it is necessary to see power working in many ways to materialize the diaspora and resist state violence. For Butler, the concept of diaspora is presented as a resistance practice and ethical request of the dispossessed. However, this thesis aims to reveal that Butler’s criticism against ‘bare life’ is misread. Butler’s misinterpretation arises from the difference in perspective of Agamben, who reads Michel Foucault and Hannah Arendt. If sovereignty is an anachronism to Butler, the original form of sovereignty is biopolitics to Agamben. In addition, Butler considers Arendt distinguishing between the public and private realms and maintaining a discriminatory perspective on the private, whereas Agamben reads that Arendt paid attention to the modern reality in which this public/private distinction is collapsing. Unlike Butler’s criticism, ‘bare life’ does not exist outside of the polity or power. Even if the citizen belong to the nation state, there is the potential for them to become a “bare life,” or diaspora at any time, which reveals the possibility of rethinking the identity of the diaspora.","PeriodicalId":409687,"journal":{"name":"The Criticism and Theory Society of Korea","volume":"11 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-02-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130331863","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"다이어리 시학: 추상성, 혹은 프랭크 오하라의 “무엇이든”","authors":"Hyunjung Kim","doi":"10.19116/theory.2023.28.1.315","DOIUrl":"https://doi.org/10.19116/theory.2023.28.1.315","url":null,"abstract":"This essay means to offer a new lens through which we might understand the notion of abstraction otherwise. It does so by reading Frank O’Hara’s poems, best known for their attention to the particular and the personal, against the prevailing thought that posits a fatal contradiction between the concrete and the abstract. With the help of Julia Jarcho’s conceptualization of the word “anything,” I suggest O’Hara’s gesture towards the abstractness of Anything as a distinct feature in what I call his “diaristic poetics,” through which the poet shows ways of “angling” oneself for different queer contiguity and continuity to emerge. In revealing the ways in which the word “anything” evokes a masochistic attention to the unknown and unexpected particulars, this essay considers how the receptivity of O’Hara’s diaristic writing generates queer modes of relation and belonging.","PeriodicalId":409687,"journal":{"name":"The Criticism and Theory Society of Korea","volume":"10 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-02-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130637790","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Hate Speech, Subject Agency and Performativity of Bodies","authors":"Haeook Jeong","doi":"10.19116/theory.2023.28.1.271","DOIUrl":"https://doi.org/10.19116/theory.2023.28.1.271","url":null,"abstract":"Hate speech is any form of expression that vilifies and discriminates against individuals or groups based on their identity, including race, ethnicity, national origin, gender, sexual orientation, religion, and more. However, hate speech is not merely an emotional expression; it can often be intertwined with fake news and logical reasoning that appears convincing. This article explores Judith Butler's theories on hate speech, how she resists it, and how to draw a good life out of a bad life. Firstly, it examines the limitations of the traditional dichotomy between reason and emotion and how it relates to issues such as hate speech, fake news, and post-truth. Secondly, it analyzes hate speech as either an illocutionary or perlocutionary speech act, and reviews legal cases related to hate speech in the USA through Judith Butler's Excitable Speech(1997). Thirdly, it explores Butler's analysis of Freud's work in The Force Of Nonviolence(2020), including his ideas about the importance of emotional ties and communities of feeling, and how he aimed to overcome blind fury in his later years. The article also discusses how Butler supplements Freud's unfinished research and extends his ideas beyond their original limits. Finally, the implications of these attempts for Korean society, which is currently grappling with the problem of hate speech, are examined in the last section.","PeriodicalId":409687,"journal":{"name":"The Criticism and Theory Society of Korea","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-02-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129501316","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Western Theories of the Contemporary Community: Focusing on Inoperative Community and the Coming Community","authors":"Dae-joong Kim","doi":"10.19116/theory.2022.27.3.67","DOIUrl":"https://doi.org/10.19116/theory.2022.27.3.67","url":null,"abstract":"This essay aims to explore genealogy of community in the contemporary western theories focusing on two major European scholars’ theories of community: Jean-Luc Nancy’s ‘the inoperative community’ and Giorgio Agamben’s ‘the coming community.’ In the history of contemporary theories, Georges Bataille, a French philosopher, contextualizing communication and community, first proposed the idea of ‘Unavowable Community’ which influenced Jean-Luc Nancy’s idea of inoperative community. The inoperative community refuses identity politics and immanence to delineate a community where singular subject, going through desubjectification, take part in unrecognizable community expurgating any violence or drive for death. Nancy metaphysically critiques limit of the idea of community and suggests inoperative community as a metaphysically fundamental community. Though sounding purely ethical, Nancy’s community is product of the collapse of communism and resistance against totalitarian or capitalistic desire for unified community. In turn, the essay delves into complicated ideas of coming community in Giorgio Agamben’s The Coming Community. Agamben, inheriting as well as critiquing Nancy’s inoperative community, proposes ‘potentiality’ and ‘ease’ as the key elements of coming community in which political theology and ethico-ontology center the idea of community of singularity and coming politics.","PeriodicalId":409687,"journal":{"name":"The Criticism and Theory Society of Korea","volume":"70 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-10-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129237228","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"한국비평이론학회 창립 30주년을 기념하며","authors":"용균 김","doi":"10.19116/theory.2022.27.3.5","DOIUrl":"https://doi.org/10.19116/theory.2022.27.3.5","url":null,"abstract":"<jats:p />","PeriodicalId":409687,"journal":{"name":"The Criticism and Theory Society of Korea","volume":"62 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-10-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124194148","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Melodramatic Aesthetics and Ethics in 3 PM on a Rainy Day (1959)","authors":"S. Kim","doi":"10.19116/theory.2022.27.3.111","DOIUrl":"https://doi.org/10.19116/theory.2022.27.3.111","url":null,"abstract":"A majority of South Korean melodramas produced in the late 1950s are characterized by the “gaps” between clichéd nationalist narrative and exotic international style. This article analyzes 3 PM on a Rainy Day in relation to its cosmopolitan aesthetics and the ethical significance gained from it. The first part of the article examines prior criticism on melodrama and style in order to demonstrate the ways in which melodrama uses style to “speak the unspeakable.” The second part discusses concepts developed by Jacques Rancière and Alain Badiou, such as “the aesthetic regime of art,” “a thwarted fable,” and “impurities” of cinema. Viewing cinema as a truth-seeking singular event, Rancière and Badiou make room for new aisthesis (perception) and thus invite an ethical rethinking of the status quo. 3 PM on a Rainy Day recasts a clash between nationalism and the American-style modernization in postwar Korea within a love triangle between a Korean-American journalist, a Korean veteran, and a Korean woman adored by the two men. The last part argues that the film’s cosmopolitan style packed with western indexes disrupts nationalist narrative and creates a “thwarted fable” which, by unsettling the logical flow of storytelling, reveals the unspeakable: in this film, a cosmopolitan aspiration on the part of the audience consumed by war.","PeriodicalId":409687,"journal":{"name":"The Criticism and Theory Society of Korea","volume":"127 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-10-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123346523","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}