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This paper analyzes British child welfare measures in The Child in Time by Ian McEwan through the central event of the disappearance of five-year-old Kate, the daughter of the protagonist, Stephen Lewis. From the outset, the narrative unfolds Kate’s missing and explores the aftermath of this traumatic event at both the private and public levels. Stephen, as a victim of this irreversible loss and as a writer of children’s literature, takes part in a government committee responsible for publishing the Authorized Child-Care Guidebook in the socio-political context of post-Margaret Thatcherism. His dual identity enables a critique of absurdity of the child welfare measures and the Guidebook shaped by New Right and neoliberal economic world-views, which push marginalized members of society to the periphery. In the body of the paper, the focus will be placed on the concept of “bare life” among marginalized children, particularly girls, considering the gender of the missing child, Kate. Throughout the argument, theoretical frameworks such as biopolitics, Agamben’s concept of homo sacer, ideological state apparatuses such as the family, and post-structuralist discourse theory will be employed to reveal the underlying realities behind the Guidebook.

Kate Chopin’s The Awakening was once badly criticized that it portrayed the bold and broad sexual behavior of a woman in such an extreme fashion that it was unacceptable in her age. It was also a leading attempt in that the repressed sexual desire and passion of a woman regarded as taboos in her time were openly dealt with. Besides, this novel can be considered an unprecedented one inasmuch as such themes as the will for independence, and a woman's pursuit of the self, or the very subjects that had been perceived as exclusive properties of men of the age, were brought into relief. However, this study aims at warning against the following practice: the leading accomplishment of The Awakening is recognized, but at the same time, Edna’s awakening is merely defined by abstract words such as ‘feminist success’ or ‘the mental maturity of a woman.’ This study does not aim to disparage the meaning of the text itself, but to have a full understanding of the meaning of Edna’s awakening in light of the situations in which women of the time were placed. Edna, the heroine of The Awakening, is different from the typical patterns of the main characters in the 19th century American feminist novels: she is a married woman. The reasons why this study focuses on such differences are as follows: first, problems with the domesticity of a married woman in her contemporary society can be examined in depth in The Awakening, since Edna is a married woman unlike in other feminist novels; second, the female protagonists of many feminist novels mature by becoming aware of the problems with social structures disadvantageous to women, such as the marriage system of the time while finding their marriage partners. Edna not only recognizes problems with the irrational marriage system or social structure but also suddenly experiences an awakening akin to epiphany, while entering into and sustaining marriage without any serious reflection, leading to nothing but miserable consequences. In this context, this study will take a close look at the problems of domesticity and the ideal images of femininity related to 19th century married women, which is manifest in The Awakening, based on John Ruskin’s and John Stuart Mill’s arguments on this matter. Besides, it will examine how Edna ascertains her position in her family and how her deviation attributable to her belated awakening are expressed. Lastly, this research will discuss the meaning and the limitations of Edna’s establishment of her own independent home.

지금은 매우 일반화된 비평 방법의 하나인 페미니즘 비평은 우리나라에서 1970년대 후반 남성평론가들에 의해서 처음 소개되었다. 1977년 2학기 고려대학교 대학원에서 영문학자인 김우창 교수가 우리나라에서는 처음으로 페미니즘 비평을 강의하였다. 그때 서울 시내 여러 대학에서 청강생이 몰려올 만큼 그 강의는 센세이션을 크게 불러일으켰다. 1977년에 이화여자대학교에서 <여성학>이라는 교양과목이 신설되면서 불문학자인 김치수 교수도 페미니즘 비평을 소개하였다. 외국문학을 전공한 남성평론가들에 의해 페미니즘 비평이 소개된 것은 그 당시 대학에서 이를 강의할 여성학자들이 부재했기 때문이었다. 내가 케이트 밀렛(Kate Millett)의 『성의 정치학(Sexual Politics)』(1970)이라는 책을 알게 된 것도 김우창 교수의 강의에서였다. 그즈음 케이트 밀렛의 책뿐만 아니라 프랑스의 실존주의 페미니스트인 시몬 드 보브아르(Simone de Beauvoir)의 『제2의 성』(1949)이나 미국의 베티 프리단(Betty Friedan)의 『여성의 신비』(1963) 등도 국내에 번역되어 페미니즘의 시야를 넓히는 데 큰 도움을 주었다. 페미니스트이자 작가이고 화가이기도 한 케이트 밀렛 Kate Millett)은 비평적 차원에서는 여성이미지 비평을 창시한 페미니즘 비평의 선구자이자 페미니즘운동의 차원에서는 급진주의자로 평가된다. 1934년 미국의 미네소타에서 태어난 그녀는 미네소타 대학을 졸업한 뒤 영국으로 건너가 옥스퍼드대학에서 영문학을 전공했다. 그녀는 1970년에 『성의 정치학(Sexual Politics)』을 컬럼비아 대학의 박사학위논문으로 제출했다. 이 책은 출간되자마자 베스트셀러에 올랐고, 그녀의 급진적 사상에 미국사회는 찬반양론으로 갈라져 큰 논쟁에 휩싸였다. 그로 인해 그녀는 컬럼비아대학에서 파면 당하는 불운을 겪게 된다. 하지만 시사주간지 『타임』은 그녀를 표지인물로 선택했으며, 그녀는 이 저서 한 권으로 페미니즘 비평의 대모가 되었다. 그리고 이 책은 』뉴욕 타임즈』가 선정한 20세기 최고의 책 100권 중 사회분야의 20권 가운데 한 권으로 선정되기도 했다. 뿐만 아니라 이 책은 수많은 언어로 번역되어 전 세계 여성운동가들의 바이블로 널리 읽히고 있다. 케이트 밀렛은 『성의 정치학(Sexual Politics)』 이외에도 『시타(Sita)』(1974), 『비행(Flying)』(1979), 『베이스먼트(The Basement)』(1979), 『정신병원 여행(The Loony-Bin Trip)』(1990), 『정치의 잔인성 The Politics of Cruelty)』(1994) 등 여러 권의 저서를 출간하였다.

This study explores counter-memory narratives for apology in Kate Grenville’s The Lieutenant and The Secret River. The author deals with the perpetrator’s perspective and dissolves Australian national identity as a settler nation revealing the dark side of history. If ‘memory’ in the criticism of post-colonialism consolidates the identity of individuals or communities, the ‘counter-memory’ narratives in the novels may render them to be taken aback. The Secret River tells the story of a convict settler who was complicit with violence against his good nature. The Lieutenant is set at the very beginning of the penal colony in New South Wales in 1788. A British officer was unwillingly involved in an expedition to kill Aborigines. Even though it resulted in failure, he recognizes the fact that he had conspired in the business of colonization: “if you were part of that machine, you were part of its evil.” Eventually he decides to leave the expedition and not to obey orders. The novel aims to acknowledge responsibility and contemplate the shame of the guilty and the complicit.

The Secret River is not written by an Aboriginal author but an a descendant of white settlers. Some critics criticize The Secret River as having racist stereotyping under the guise of postcolonial text. But postcolonial theory is not always well-suited to the Australian context. The novel follows the life of William Thornhill, a decent but poor man who eventually comes to New South Wales in 1806 for petty theft. The novel is the outcome of Grenville’s research on the history of her ancestor Soloman Wiseman. She has drawn him as being morally ambivalent about the way he sees and treats the Aborigines. Grenville’s portrait of Thornhill is not a hero to lead readers’ moral path in the story. Instead, he takes part in a massacre of Aborigines to disperse them and to take up the land around the Hawkesbury River. Although he gains hundreds of acres of land, he remains ‘emptied’ and never feels triumphant. In the last scene of the novel, he sits on the bench feeling punished and staring into the dark. Grenville encourages readers to reflect up on the question of what it means to be a white Australian and to call upon White-settlers to atone for the their treatment of the Aborigines.

This paper explores how the counter-memory narratives in Kate Grenville’s Sarah Thornhill question and disrupt Australian cultural memory. Whereas Australia’s mainstream cultural memories represent ‘what we should be,’ Grenville’s counter-memory divulges the falsehood of the official memory and identifies ‘what we really are.’ Sarah Thornhill grows up not knowing anything of what her father William Thornhill did to Aborigines for the sake of taking up the land which she called home. Later on Sarah finds out the secret of her father and all the stories made up on William Thornhill’s wealth. Nevertheless, she admits that she is herself implicated in father’s guilt because she is one of the beneficiaries of the wrongdoings of the traumatic past, even though her counter-memories break the continuity of family’s glory. The novel also deals with the issue of ‘The Stolen Generation’ that was produced by Australian Founding Fathers. Sarah is asked to visit Māori in New Zealand to present a eulogy at Rugig’s wake. Her counter-memory remembers ‘against the grain’ that she did not protect Rugig and sat on the sidelines of the abuse. Finally Sarah’s shame moves her to make an apology through which she asks readers to remember responsible memories of the traumatic past.

본 연구는 경호무도로서 공수도 형(形)기술의 활용의 적합성에 대해 살펴보았다. 형 기술을 통해 경호대상자 를 보호하는 완전한 임무수행을 할 수 있으므로 공수도 수련의 중요성을 인식시키고, 공수도의 가치를 높이는데 목적을 두었다. 연구방법은 문헌연구로 공수도, 경호무도, 무도 등 관련서적과 자료, 논문을 수집하여 참고하였 다. 공수도가 경호무도로서 가지고 있는 특성은 다음과 같다. 첫째, 공수도 형은 신체의 모든 부분을 이용하는 동작을 통해 경호원의 체력형성에 기여할 수 있다. 둘째, 공 수도 형은 실전에서 터득하거나 수련을 통한 성과의 기술들이 내재되어 있어 위해자로부터 다양한 공격에 대비 할 수 있는 호신 또는 경호무도로 활용이 가능하다. 셋째, 공수도 형의 예를 배우며 정신력 또한 가다듬을 수 있어 상대와의 대결에서 생사를 결정짓는 중요한 것이다. 이러한 경호무도로서의 공수도는 다변화에 따른 사회의 제반 변화와 더불어 다양한 범죄 발생 등에 따라 경 호의 필요성이 대두되면서 경호무도로서 더욱 발전될 것으로 생각된다.

In this study, it is intended to investigate the suitability of the use of Karate Kata martial arts as a guard. It is possible to carry out the mission to protect the subject guard it with the type technology. So, it is possible to be aware of the importance of karate training. And placing the purpose in raising the value of karate. Approach is a literature study. Collect and materials related books, papers karate, martial arts guards, such as martial arts, was helpful. First, karate kata use all the parts of a body. Thus, it is possible to form physical strength security staff. Second, Karate Kata has techniques are included. Thus it is possible to provide for a variety of attacks from the reservoir's. Thus, karate is capable of use as a security guard martial arts. Third, understand karate kata learn manners. And it can be a good learning mentality. Therefore Karate is in accordance various social changes such as the need to guard. Karate is security guard martial arts as a guard be considered in the development.

본 연구는 케이트 크로포드와 블라단 욜러의 협업 프로젝트인 <AI 시스템의 해부>를 중심으로 인간, 사회, 지구를 관통하는 인공지능 시스템의 작동에 대한 그들의 비판적 담론을 읽어내는 데에 목적이 있다. <AI 시스템의 해부>는 인공지능 음성인식 스피커인 아마존 에코를 사례로 삼아 인공지능 기술세계의 물질적, 사회적 조건을 가시화한 ‘데이터 시각화’로서, 인공지능 시스템의 이면에 감추어진 노동, 데이터, 자원의 무자비한 추출 구조를 드러낸 해부학적 지도이다. 크로포드와 욜러는 인공지능 기술이 작동하는 기술세계의 지형을 탐구하고 시각화하 기 위해 ‘비판적 지도제작’을 중요한 인식적, 실천적 방법으로 사용해 왔다. 이에 본고는 <AI 시스템의 해부>에 대한 ‘지도 읽기’를 수행하되, 철학자 레비 브라이언트가 ‘존재지도학’에서 제시하는 지형학의 네 가지 요소를 범주로 삼아 거대 기술세계 지형도의 구조와 의미를 분석하였 다. 이를 통해 본고는 크로포트와 욜러의 지형도가 인공지능 기술세계의 광범위한 추출주의를 비판적으로 가시화하고 있음을 강조하였다.

This study aims to examine the critical discourse on the artificial intelligence system that intersects with human, society, and the Earth, focusing on Kate Crawford and Vladan Joler’s collaborative project, Anatomy of an AI System. Using the Amazon Echo, an AI voice recognition speaker, as a case study, Anatomy of an AI System illuminates the material and social conditions upon which the technological system is founded. As a ‘data visualization’, it reveals the ruthless extraction of labor, data, and resources hidden behind an AI system; Crawford and Joler have employed ‘critical cartography’ as an epistemic and practical method to visualize the complex terrain shaped by the AI system. This paper conducts a ‘map reading’ by incorporating Levi R. Bryant’s concept of ‘onto-cartography,’ and suggests Crawford and Joler’s critical map visualizes the extensive extraction of labor, data, and resources on human, social, and planetary scales.

This study explores how Aboriginal narratives and the politics of memory in Sally Morgan’s My Place and Kate Grenville’s the Secret River dissolve ‘terra nullius’ ideology and the Australian pioneer myth. If My Place may ask the question ‘Who owns the past,’ The Secret River would probably answer ‘the white man must bear the responsibility for Australia’s colonization.’ Morgan writes an autobiographical novel as a descendant of the Stolen Generation who were taken away from their families forcibly and exploited economically and sexually. The narrator Sally is desperately in search of the family’s secret, which is related with a white station owner’s incestuous rape in the frontier age and the crucial violences of colonization. Her journey to ‘what it means to be an Aboriginal’ has become a rewriting of Aboriginal memories and white Australian history. The Secret River seemingly deals with the story of how a convict-settler William Thornhill took up a plot of land and settled down as a gentry-like settler, but it also unsettles the legitimacy of the pioneer myth that has played a powerful role in Australian history. Grenville deploys her own history of the ancestor, Solomon Wiseman, and the novel is deliberately organized from the perspective of Thornhill. Therefore, the author makes readers pay attention to the settler’s guilt and the denial of apology.

The Conflicts of a Balance between Self and Others in Walt Whitman’s Leaves of Grass and Kate Chopin’s The AwakeningUirak KimIn Leaves of Grass, Walt Whitman stimulates a balance between individuality and brotherhood; and he encourages the individual to venture himself on the open road of life in order to make sense of life and reach eventual perfection. His poems are affirmations of simultaneous self-love and sympathy for others combined with spiritual venture. Chopin traces Edna’s awakening to her individuality. Chopin’s Edna’s selfishness stems from the lack of sympathy and identity with others. Unlike Whitman, Edna weaves her song only from herself. Whitman values sympathy and identity in his celebration of self. This paper explores Whitman’s philosophy as it relates to the downfall of Edna Pontellier the protagonist of Kate Chopin’s The Awakening in modern American fictionwhose self-absorption excludes love or concern for others and whose material goals are void of self-satisfaction due to the fact that the self is not ventured in attaining them. Especially, this paper demonstrates Whitman’s idea of balance between sympathy and supremacy of the individual along with his notion of ventures as possible solution to the sense of alienation, loss and despair prevalent in Chopin’s works.

Focusing on the city of New Orleans as well as on the difference between the city and the summer resort (Grand Isle) in Kate Chopin’s The Awakening, this paper examines how the urban experience of modernity shapes Edna Pontillier’s search for subjectivity in the late 19th Century. Nicknamed “the American Paris,” 19th Century New Orleans was a major city in the South both in terms of European heritage and multicultural demographics. These attributes are vindicated in the novel’s description of the streets and shops, which spur Edna’s exploration of modernity as a flâneur, i.e. a city stroller. While rambling through the city, the protagonist not only momentarily liberates herself from the role of the mother but also more fully inhabits her selfhood. Since strolling functions as a device to map class distinctions, she also sees how geographical arrangements of the city correspond to social hierarchies. However, although she feels more liberated in the city than in Grand Isle, because she is a female city stroller (flâneuse), there is clear limitation in Edna’s mobility. Women in the 19th Century were still confined to private/domestic places, and a middle-upper class woman like Edna was not expected to be seen by herself in public spaces. Edna rejects the oppressive life of a middle-upper class woman, but her inclination to walk and her attempt to get a ‘pigeon house’ close to the Pontillers’ do not result in a successful transformation in life, which suggest how difficult it is to resist patriarchal oppression. She drowns herself at the end of the novel, but as she swims far out to the sea, she tries to break down the barrier once again in her own limited way.

This article is a pragmatic application of the theory of parallel literary study of Aldridge in a comparative study of Kang Kyungae and Kate Chopin focusing on their works, Mother and Daughter and The Awakening. These two writers do not have much similarity in their cultural and historical background, but their works provide a basis for comparative study in the sense that they have very important commonalities in dealing with women's reality, agony, anger and the strategy of their survival in male-dominated social structures. In this paper I studied the authors' lives and then explored the process of woman's self-reflection and self-cultivation focusing on the two women characters, Oki of The Mother and The Daughter by Kyungae Kang and Edna of The Awakening by Kate Chopin. Self reflection is a course of searching for a new consciousness and a new self-analysis to answer the question “Who am I?” or “What kind of person do I want to be?”. The novels are similar in patterns of development of protagonists and reflect the desperate and dangerous steps a woman takes as she moves on to gain her self-identity. In searching of new identities, both Oki and Edna experience the steps of dissatisfaction, rebellion, and isolation. And when they arrive at the stage of self-reflection, both decide to start new lives completely different from their old lives. Even though both of them arrive at the same stage of self-reflection, their journeys after this time are not similar. Oki succeeds in her journey of self-cultivation, but Edna doesn't. Oki succeeds in starting a new life because she prepares the inner resources required to construct an independent life. She works hard in the rice fields during the day. At the night school she was cultivating her self-reflection and she uses her painful past and miserable memories of her mothers as a means of healing and renewal. But in case of Edna, even though she has developed a new embryonic identity, this new self is too weak to struggle alone and too helpless to confront the world. Unlike Oki, she was never able to rise through pain and suffering and she does not possess the stamina to endure misfortune in silence. Through their novels, The Mother and The Daughter and The Awakening. both Kyungae Kang and Kate Chopin encourage women who are suffering from anger and scars not to abandon themselves even though reality is tough and cruel, but to gain the inner resources of their own, through self-reflection and self-cultivation. And the course of this self-reflection and self-cultivation is the typical power and trait of ‘Sagim’ of Korean ‘Han’.

The Awakening, written by Kate Chopin in 1899, deals with a woman's awakening in a male-dominated, conservative Creole society in New Orleans. The Creole people, the descendants of French and Spanish colonists, adhered to the French culture and spoke French as their mother language, in contradistinction to the standard English of Anglo-Americans. Chopin wrote The Awakening in English, but often used French to describe Creole people. French language was used as a literary device for ‘representing functions' of a community with multi-languages, ‘factual functions' reflecting the real world, and ‘evocative functions' bringing up the images of Creoles. For these functions of the source text to be reproduced in the target text, the French language is expected to be reproduced in translation as well. This study analyses the functions of French language and expressions in The Awakening, comparing the effective translation strategies to reproduce these functions from the source text to six target texts.

This paper aims to explore a 19th-century married woman’s pursuit of selfhood in the oppressive institution of marriage and examine the meaning and importance her challenge has in Kate Chopin’s “Athenaise”. Most of Chopin’s short stories and novels set in Louisiana feature female characters of Louisiana Creole background and her highest interests are feminist issues related to marriage, sexuality, and motherhood as women’s oppressive experiences in the Victorian American South where true womanhood was believed to be fulfilled only through marriage and motherhood. One of Chopin’s representative works, “Athenaise” ends with a happy vision for marriage, which has disappointed some critics expecting the protagonist’s more active role against the oppressive social institution. However, within a moral safety zone in which a runaway wife returns to her husband with the pleasure of pregnancy, Chopin insinuates two important feminist issues, women’s desire for selfhood and sexual awakening. Athenaise’s challenge has shown that a woman is also the subject of desires, not ‘the other’ defined by men, wanting independent selfhood and creating her own life. Another achievement “Athenaise” has made is presenting an alternative vision for the male-dominated Victorian marriage through the change of a man who had patriarchal attitudes toward women’s role. He realizes the marriage based on male domination over the wife is the same as slavery, deciding to respect his wife’s free will and choice. This is a remarkable change in that he has admitted his wife as an independent subject with her own desires and free will. The fact that the happy ending is the outcome of a woman’s pursuit of selfhood and a man’s change of attitudes toward a female subject indicates that the conclusion of “Athenaise” is not just a conventional happy ending but a positive vision for marriage.

This article explores the problematics faced by the male and female protagonists of "Desiree's Baby" and "Her Letters"' in the terms of interpellation. It is a term put forward by the French structuralist Marxist Althusser and can be defined as the process whereby an individual subject assumes his or her place within an ideological structure. Zizek reconceptualizes the concept of Althusserian interpellation in the framework of Lacanian psychology. He suggests that there is a certain 'gap' in any interpellation and that symbolization ultimately always fails. While the characters in "Desiree's Baby" and "Her Letters" are subjects interpellated in the ideological apparatus, marriage, they also have the dimension that cannot be covered by those interpellations. "Desiree's Baby" shows that interpellation is always arbitrary and that the symbolic order always has lack. "Her Letters" shows that we cannot encounter the truth without accepting that there is the dimension beyond interpellation by presenting the male protagonist who desperately denies the fact that the interpellation of his wife and himself has failed. The dimension beyond interpellation not only illuminates what subjects really are but also intuitively comments on the lack in the mid-nineteenth century gender ideology.(KAIST)

By giving a postcolonial edge to T. M. Thompson’s suggestion that The Plumed Serpent registers “the real transformation occur[ing] in Lawrence’s vision,” a crucial part of which is “unlearning Europe,” I would like to argue in this essay that The Plumed Serpent concerns the process of “decolonizing” Kate. In the novel, Kate’s identity is dubious; although Kate seems to be present in the novel as “a European,” the novel as well as Kate notes that she is Irish. If Kate is the colonized as well as the colonizer, we can read The Plumed Serpent as a novel about decolonizing Ireland represented by Kate as much as about decolonizing Mexico. It is interesting that few Western critics have written about this issue. They tend to think of Kate more European than Irish, and they agree that this novel covers an encounter between a European woman and Mexicans, and in their reading, consequently, Kate represents Europe and her perspective is a Western perspective. Although seeing Kate this way is somewhat inevitable, it can imply the completeness of Kate’s colonization. This kind of criticism is only half-true. Therefore, in this essay, I would like to examine the ways in which the novel handles the issue of decolonizing Kate, arguing that an emphasis on Kate’s Irishness can make a significant revision of the reception of this novel. In particular, I will focus on the ideology of Western individualism as one of the lessons for Kate to unlearn before she is decolonized. After connecting this issue with insights from Franz Fanon, the main body of the essay deals with the process of decolonizing Kate. In the meantime, the genre of The Plumed Serpent is also discussed as the novel contains within itself a number of genres such as songs, hymns, and prayers, both Western and non-Western. This aspect of the novel, I argue, is identical with issue of decolonizing Kate. My conclusion, however, is not that individualism is replaced by collectivity or something of this nature in this novel but that the novel poses a serious question about modern Western individualism without providing any precise solution.

This paper mainly examines the conflict in the text. Kate Chopin is a famous American woman novelist in the late 19th century who creates a lot of short stories and novels. The famous novel The Awakening is her masterpiece. Edna Pontellier is the heroine in this novel, whose heart is full of conflict when searching for selfhood. The conflict of the heroine lies in her choice in the role model, her nature, her love and her awakening. Not only the heroine’s conflict but also the conflict between the Creole culture and the Victorian culture illustrated in the text of The Awakening reflects Kate Chopin’s conflict in creating her works. The social background and her personal experience are the root reasons which contribute to Chopin’s conflict characterization in her writing.