Earticle

초록

영어

Marilynne Robinson’s Jack, the prequel to the Gilead series, confronts the structural evil of racial segregation through the forbidden love between Jack, a white vagrant, and Della, a black teacher. The opening cemetery scene transcends its role as a mere backdrop. It functions as a liminal space where social norms are suspended, paradoxically allowing the two protagonists to engage in intellectual exchange without racial hierarchy. However, as a domain of the dead and a place of stasis, the cemetery serves as a pessimistic foreshadowing, implying that their relationship cannot endure without “social death.” This tragic destiny is further displayed through Jack’s immersion in Shakespeare’s Hamlet and identification of himself with the Prince of Darkness. Jack projects his own guilt onto the Hamletian tragedy, confessing through the metaphor of a broken string that his very proximity to Della inevitably destroys her social standing. By defining himself as the Prince of Darkness, which is a traditional epithet for Satan, Jack acknowledges that his white privilege itself is a destructive power that infringes upon Della’s life, regardless of his intentions. Ultimately, Robinson suggests that the resolution of racial antagonism begins at the intersection of Della’s “light”—her ability to perceive the unadulterated soul—and Jack’s agonizing reflection on his own structural violence, asserting the inviolable value of human dignity even within the kingdom of darkness.

목차

Ⅰ. 서론
Ⅱ. 공동묘지: 자유와 한계의 공존
Ⅲ. 『햄릿』/햄릿: 비극적 사랑과 파멸의 예고
Ⅳ. 어둠의 왕자와 빛의 델라
Ⅴ. 나가며
인용문헌
Abstract

키워드

저자

• 이승복 [ Seung Bok Yi | 숭실대학교 부교수 ]

참고문헌

발행기관

간행물

표지보기 관심저널 등록

• 간행물명

  영어영문학21 [English21]

• 간기

  계간

• pISSN

  1738-4052

• 수록기간

  1967~2026

• 등재여부

  KCI 등재

• 십진분류

  KDC 840 DDC 820