Korean | English

pISSN : 1598-3021 / eISSN : 2671-7921

2020 KCI Impact Factor : 0.63
Aims & Scope
인문논총은 종합 인문학 학술지를 지향한다. 문사철을 비롯한 전통적인 인문학에 더해 학제간 융합 연구, 디지털 인문학 등 인문학의 새로운 방향을 제시하는 주제를 포괄한다.
Kim, Jongil

(Seoul National University)

Citation Index
  • KCI IF(2yr) : 0.63
  • KCI IF(5yr) : 0.5
  • Centrality Index(3yr) : 1.262
  • Immediacy Index : 0.2683

Current Issue : 2021, Vol.78, No.3

  • “Form” as Norm?: A Postcolonial Reading of D. H. Lawrence’s “Introduction to These Paintings” and Some Other Late Writings

    Ryu, Doo-Sun | 2021, 78(3) | pp.15~45 | number of Cited : 0
    Abstract PDF
    D. H. Lawrence’s critique of formalism, presented by Clive Bell in Art (1914) or Roger Fry in Cézanne: A Study of His Development (1927), is so remarkable that Lawrence can be said to prefigure postcolonial studies by several decades. In this study, Lawrence’s “Introduction to These Paintings” (1929) is read as a parody of the then-dominant aesthetic theories that proffered “significant form” as a kind of Eurocentric norm. In order to contextualize this piece, I reference Sketches of Etruscan Places (1927) as well as Lady Chatterley’s Lover (1928). My discussion expands upon postcolonial studies such as Homi Bhabha’s notion of “cultural difference” and Gayatri Spivak’s concern with subalterns. However, rather than applying postcolonial theories to Lawrence, I would like to conduct a dialogue between them and Lawrence. Thus positioning Lawrence as a fulcrum between modernism and postcolonialism, I hope to redress Lawrence’s current reception— that, although he differs considerably from contemporaneous modernists, his postcolonial attitudes have not been fully discussed—by revealing that the then-dominant formalism is no less than an advocate of significant form as a Eurocentric norm. I also hope to “supplement” postcolonial studies by exploring the ways in which Lawrence discloses what is lacking in this otherwise-useful vantage point, that is, considerations of the alternatives he felt indispensable.
  • “It is not wholly as I imagined it would be”: Discussing on the Problem of Female Character’s Representation and Appropriation of Male Space in J. M. Coetzee’s Foe

    Oh Ye Ji | 2021, 78(3) | pp.47~83 | number of Cited : 0
    Abstract PDF
    Agreeing with Gayatri Spivak’s critique on the novel, this paper argues that the female character in Foe, Susan Barton, tries to appropriate men’s spaces. As the author of her own writing and herself as a character, Susan seeks to rewrite her social identity and narratively reenacts the rooms of male characters. She repeatedly represents the room that belongs to Foe, a ghostwriter who writes her book, Female Castaway. Susan’s desire for male space is documented in Chapters 1 and 2 by borrowing the forms of British novels, such as travel narratives and epistolary novels, respectively. By making her private experiences into her authoritative works, Susan can appropriate Foe’s room as a writer and explore a new identity within England society. However, Susan’s appropriation has an aspect of complicity in the imperialist project in the act of adapting her personal experiences into literature. As Edward Said argues, in the narrative, including novel forms, the actual occupation of the territory, the issue of his ownership, and even future plans are determined. In this context, the novel recounts the reality that Susan’s writing and her efforts to take ownership of space need a male reader to approve her experience and a man to lend his name to have social meaning and impact. The novel finds the possibility of transcending the limitations of Susan as a writer/narrator who is complicit in imperialism through the anonymous narrator in Chapter 4. Through the final scene of two visits to Friday’s home, the novel finds a space to listen to the unspoken experiences that remain on the body by describing or gesturing towards the other through the language of silence and sense rather than the written/voice language.
  • John Gay’s Polly: Oscillating Multiple Identities of Gender, Race, and Empire

    Chung, Kyung Seo | 2021, 78(3) | pp.85~120 | number of Cited : 0
    Abstract PDF
    This paper aims to investigate John Gay’s experimental way of Homi K. Bhabha’s mimicry addressing multiple identities in Polly (1729). Whereas the highwayman Captain Macheath enjoys London’s low life in The Beggar’s Opera (1728), in its sequel Polly, now Macheath’s spouse, Polly Peachum emerges as the true heroine claiming her love and virtue in the West Indies. Gay represents identities enmeshed with piracy, slavery and colonization while considering the possibilities for remaking identities in a colonial setting. Conspicuously by ways of disguise —costume, mask, and role-reversal— almost every character in the play raises issues of gender, nation, and racial transgressions that is, in Gayatri Spivak’s notion, overdetermined within the New World. In Polly, Gay’s staged characters seem to deny their given identities upon gender, nation, race, and empire while strategically crossing and shifting the boundaries from one to another stereotypical images and roles; Polly, a virtuous white woman, wears trousers to turn into a courageous young pirate man; Macheath, a white indentured servant, paints in a black face to be the black leader of the pirate crew under the name of Morano; native Indians embrace the ideals of virtue, honor, and decorum to play the noble and civil colonized more resemblant to Europeans. Thus, from such masquerades, the play expresses that without entirely depending on gender, race, nationality to place the character, the identities can be mobile and instable always in the process of being made from difference and sameness; and the incongruity of identity resulting from the staged and the true nature inherent in the characters. However, by the offstage death of Macheath and the expected marriage of Polly and Indian Prince at the end of the play, Polly reveals that even though Gay uses mimicries to provide a new opportunity to rethink the construction of identities, he is not able to advance further a new fundamental transformation of identity.