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논문검색은 역시 페이퍼서치

현대영미시연구검색

Studies in Modern British and American Poetry


  • - 주제 : 어문학분야 > 영문학
  • - 성격 : 학술지
  • - 간기: 반년간
  • - 국내 등재 : KCI 등재
  • - 해외 등재 : -
  • - ISSN : 1598-138X
  • - 간행물명 변경 사항 :
논문제목
수록 범위 : 13권 2호 (2007)

부기우기와 비밥의 시적 체현: 랭스턴 휴즈의 『지연된 꿈의 몽타주』

독고현 ( Tockgo Hyun )
6,800
초록보기
This study attempts to examine the procedure in which Langston Hughes combined his poetry with the vernacular music for poetic embodiment of the blues and jazz, or more specifically, ``boogie-woogie``-a style of piano blues, and ``bebop``-a modernist movement in jazz. With that aim, this thesis analyzes boogie-woogie poems and bebop poems from Montage of a Dream Deferred(1951), one of his volumes of collected poems professing to be "musical" in particular. Hughes`s music poems are differentiated from most of the other music poems. While the others tend to just employ musical elements partially or imitate musical images superficially, Hughes`s works try to embody not only the structure and subject of his people`s music, but also its process of evolutionary transition. Boogie-woogie poems and bebop poems from Montage show the process of shift from the blues to diverse "lower genres" of jazz. Montage is carefully orchestrated as one continuous poem employing the technique of montage. The theme of "the dream deferred" is carried in the musical motifs. The boogie-woogie rumble of walking bass touches the bottom of the emotions, and nonsense bebop syllables or scat singing represents uneasy state of mind from constant reversals and contrasts. Here music as structure and metaphor helps hold the poem together and drive it to the end, creating continuity in depth. In this sense, Montage can be said to be "one long interrelated poetic jam session."

오든의『불안의 시대』에 나타나는 바로크 감성

박정필 ( Jung Pil Park )
7,700
초록보기
This paper attempts to ascertain the Baroque sensibility in Auden`s The Age of Anxiety, subtitled "A Baroque Eclogue." Rene Welleck abstracts such diverse notions of the Baroque as the courtly, the atectonic, and the sensually mystic, and Walter Benjamin notes a natural tendency towards the extreme, the revolutionary in the peripheral, and decadent violence as significant characteristics of German Baroque tragedy. Auden seems to have been acquainted with the achievements of Baroque studies and analogically, fragmentarily, and complexly applied a variety of Baroque nuances to The Age of Anxiety. The Baroque sensibility revealed mostly in such pre-modern powers as the absolute monarchy and Catholicism is contradictorily ambivalent. Grandiose and flamboyant on the surface, they are also resigned to the premonition that the magnificent and florid facade will be encroached upon by the modern dynamics of science, capitalism, and Protestantism. Now Modernism, which was the dark germ of the Baroque and replaced the ancient regime and has ripened fully, also encounters the ironic altercation of the strongest chiaro(light) and oscuro(darkness); the compact oscuro adumbrates the most brilliant summit of humanistic civilization leading to the nadir. As Auden nightmarishly portrays in The Age of Anxiety modernists have continually witnessed how two world wars could exterminate even the most mightiest cultures, or, imperialistic capitalism, mechanical industrialism, and science and technology and that peripheral nothing and uncertainty was introduced as a new foreground. Despite the improbability of pastorals in an age of unpredictability, effete modernists have no other choice but to phantasy a kind of utopia or pastoral. Auden arranged for his four characters to go on a quest for an prelapsarian and prehistoric pastoral. But the modern pastoral is divergent from the traditional one in that it does not locate an appropriate place for pastorals, and the narrative structure is incompatible due to nebulous and apprehensive endings. The four characters complete their unconscious journey at the edge of a bleak desert no longer possible to track. In a phrase, it can be seen as a baroque pastoral. Yet, just as traditional pastorals established the reconciliation between an isolated individual and an inclusive society, so Auden sought not to terminate otherness and sociality. In The Age of Anxiety we may ascertain some development in sociality. Sometimes they fantasize their quest as a whole body and even Emble and Rosetta promise an engagement; yet after all they recoil to diurnal solitude proving that their relationship is superficial. However, Auden detects another route from this shrinking to Always-Opposite, Absolute Otherness, or the capital He. Especially Rosetta confesses that regardless of the external world the Absolute He always watches, judges, and protects her like a Kierkegaardian God. Auden summons the tinge of baroque mysticism of an infinite inner way. The Age of Anxiety, which deals with the Second World War incorporates Auden`s intention that ethical and religious seriousness should curb hallucinatory artifice more clearly. It also represents modern anxiety more dramatically with the analogies of the Baroque as the premonition of the dark ellipsis of modern culture, the insecure narrative of the modern pastoral, and the mystic inner way to Absolute Otherness.

엘리자벳 비숍의 장소의 시학

양승호 ( Seung Ho Yang )
6,600
초록보기
Elizabeth Bishop (1911-79) lived in a variety of locales not always of her own choosing, just running along the edges of different places, "looking for something." Descriptions of places, imagined or real, pervade her writings, and the very titles of her collections signify the importance she attributes to those places. With the obsessive attention to detail that she frequently identifies with her own craft, Bishop writes place poems and stories, tracing the connection between geographical places, her history, travels and childhood memories. Her place poems repeatedly speak to geographical displacement and her biographical background while suggesting a complex interweaving of space and time. She avoids interpretation in favor of description that bears the traces of her past that never entirely disappears or resurfaces. Shoreline topography is an important emblem for her imaginative release which could survive the past. Thus her poetics of place not only provides descriptions of the world, based on facts gathered from apparently unpromising experiences, but also offers awakenings leading to a new knowledge of life.

W. B. 예이츠의 『하룬 알-라쉬드의 선물』: 환상과 현실의 교직(交織)

이세순 ( Se Soon Lee )
7,100
초록보기
"The Gift of Harun Al-Rashid" is Yeats`s epistolary autobiographic poem based on the mystic episodes about the Calif Harun Al-Rashid and his favorite subject Kusta Ben Luka, the diagrammatist from The Arabian Nights. Naturally, its background and style are unique and, in a sense, it is a blended fabric of vision and reality. It has been considered to be something of a mystery, having nothing to do with the ancient Irish pagan myths into which Yeats used to bore. In this poem Yeats reflects in the most thinnest way of disguise his happy marriage life with his young wife Georgie Hyde-Lees, and her talk in sleep and automatic writing through arbitrary modification of the mysterious stories about Kusta and his young ignorant wife in the earlier years of their marriage life. The main theme of this poem is to descry Yeats`s persona Kusta`s journey from dark ignorance to light understanding through his young wife`s mouth and the various geometric symbols that she draws on the sand of the desert in the full moon. And this poem is important in that it clues us in deciphering the meaning of Yeats`s visionary philosophical system A Vision.

엘리엇의 초기 시: 죄의식과 애매모호성

이한묵 ( Han Mook Lee )
5,900
초록보기
T. S. Eliot articulated his consciousness of guilt through ambiguity in his early poetry. His consciousness of guilt was inherited by his ancestor, William Eliott, who served as a juror for Salem Witchcraft Trials in 1692. Although Eliot knew his ancestor was involved in the Witch Trials, he neither spoke out nor was free from the sense of guilt. Instead, Eliot kept guilt in his consciousness and said nothing about it in accordance with his inherited family motto. One letter which Eliot sent to Ezra Pound on 8 December 1933 specified that Eliot confessed his sense of guilt to Pound on his ancestor`s Witch Trial. Because he carried his tormented consciousness of guilt, he tried to sublimate his guilt through the aesthetic expression of poetry and Christian faith. As a result, his early poetry is full of shadowy images, ambiguous expression, and open symbols to include every possible interpretation. His use of ambiguity makes his poetry more autonomous. After all, in his later years he overcame his guilt through poetic confession and religious faith.

토마스 하디의 시: 이상향으로서의 과거

조병화 ( Byung Hwa Joh )
6,800
초록보기
Hardy`s pessimistic vision is special in that he does not deny all the values of the world, but finds present realities problematic in contrast with the past, the blissful moment in his memories. In both of his verse and prose he commemorates his childhood and hometown, by which he seems to believe he can be re-invigorated. Psychologically the tendency to long for the past is related to the working of the mother archetype, which, according to Jungian psychology, helps human beings survive and adapt themselves to given conditions in infancy and childhood. Such is its power that it has worked as a psychological motif, whose workings are traceable in various fields of human activities including literature. This archetype may prolong its influence or even dominate one`s psyche for one`s lifetime under certain circumstances. Hardy seems to have been under a strong influence of the mother archetype since he always contrasts troublesome present against carefree days gone-by. We find the reason on three grounds: one is favorable human surroundings in his youth, especially his devoted mother and other figures onto whom his mother archetype was projected; another, the natural settings in which he grew up and to which he felt attached till his death; the other, Christianity and the church which provided Hardy with rich foundations for his literary success. Here an attempt has been made to substantiate such assumptions.

윌리엄스의 작품에 나타난 에머슨 시학 전통

최용미 ( Yong Mi Choi )
6,800
초록보기
This paper argues that William Carlos Williams` conceptions of the universe and poetic language show revealing affinities to those of Ralph Waldo Emerson, the 19th American transcendental poet. Generally, William Carlos Williams has been known as a poet who renounced private consciousness or romantic ego and leaped into the world of mere “things.” This made him a forerunner of American New Poetics who provided a radical alternative to the poetry of T. S. Eliot in the middle of the 20th century. On the other hand, it also severly limited the real scope of his poetics and created a rather false idealization or underestimation. In fact, there are many more “ideas” in his “things” than he is commonly credited with, as Denise Levertov argues. It is true that he continuously put great emphasis on the “contact” with the local and precise and concrete visualization on the text through various experiments with poetic language. But this was not merely to foreground the visible thing itself, but to “marry” his ``word`` to the ``thing`` to get to the nearest reality through the immediate relation between the subject and the object. In this case, the visible thing allows the poet and the reader to get a flash of insight into the invisible thing beyond, which is the essence of the poetics described in Emerson`s Nature and “The Poet.” In fact, Precisionism, a native American avant-garde in the early 20th century, also has some affinities with Emerson. Therefore, this paper first examines the influence of Precisionism on Williams, and then discusses Williams in relation to Emerson`` poetics to read him in a larger American cultural context.

Nature and God in the Poetry of R. S. Thomas

( Jeo Yong Noh )
6,600
초록보기
Ronald Stuard Thomas was a Welsh priest and poet. Throughout his life, genuinely he believed that his double vocation was compatible. For about forty-two years, he had worked as an Anglican priest in the rural parishes of Wales, but his writing poetry had lasted over fifty years. From his early years of life, passionately he loved the natural beauty of Wales. His early poetry emerges from such a passionate, romantic love with the world of nature in Wales. However, as the years pass, his poetry undergoes changes of its ideas and techniques when he moves around the remote northern part of Wales to minister his parishes which exerts a profound influence on his poetry. After his encounter with the hill farmers in Manafon where he worked for over twelve years from 1942, his earlier romantic idea of Welsh nature gives way to the harsh reality in which the prototypical figure of the hill farmer, Iago Prytherch, struggles to survive with endurance. Thomas was strongly against scientific technology and the machine. He found an enemy to the natural world in a greedy mind craving for commercial profits through the machine which is de-humanizing as well as insulating man from natural processes. He believed that science and technology bring about a divorce of poetry from the natural world. He also believed that the development of technology breaks not only the silence of the countryside but also destroys the beauty of the natural world. For him, silence is only the medium of God whose messages are delivered to man by the world of nature. Man in the modernized world cannot have a direct contact with God. Only through the wild world of nature, he believed that man can have a revelation of God while accepting the fundamental fact of God``s existence, a mystery in whose presence one can only rest in one`s faith and silence. At best, the poetry of Thomas could be called that of a nature mystic who had an immediate contact with the ultimate reality in and through nature.

Christian Mysticism and Its Limit in T. S. Eliot`s Poetry

( Man Sik Lee )
6,000
초록보기
Eliot`s Christianity is not very orthodox when he says that one may become a Christian partly by pursuing scepticism to the utmost limit. St. John of the Cross is suggested by Eliot as one of the exemplary cases for would-be religious poets, in whose poems the emotion is so directly the consequence of the idea that the personality of the author is, somehow, annihilated. Paradigm shifts in Christian mysticism may be summarized as follows: (1) the spiritual, or affirmative, journey to God that occurs within the paradigm set by Christian revelation and culminates in affirmative or negative theology, what will be termed normal mysticism; (2) the apophatic way that also traces the soul`s path within tradition but that pushes beyond divine properties and names into the nameless dimension of Christian mystery, to a transitional state; and (3) the path of breakthrough in which the soul extends beyond accepted Christian doctrine to a place of nothingness and to an extraordinary mysticism, where new dimensions of reality are born. I try to follow and match Eliot`s poetry along with the paradigm shifts in Christian mysticism in this paper: (1) "The Hollow Men" and Ash-Wednesday with normal mysticism, (2) Ariel Poems with transitional state, which means that the unity of Ariel Poems derives in large measure from Eliot`s experience of transitional mysticism culminating in the divine abyss and (3) Four Quartets with extraordinary mysticism including Derrida`s mysticism.
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