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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 : 14권 1호 (2008)

셰이머스 히니 시에 나타난 땅의 이미지

강민건 ( Min Gun Kang )
6,700
초록보기
Seamus Heaney has been treasured as one of the representative Irish poets after W. B. Yeats in the British literary world. While Yeats tries to idealize and romaticize Ireland from the Irish cultural nationalist position, Heaney himself argues that he is the anti-Yeatsian and attempts to subvert the established English poetic tradition and the mainstream literary power. That is to say, rather than focusing directlyon particular events from the present to the future, he concentrates primarily on the origins and hinterland of the conflict, celebrating Irish identity, history, territory, and tongue of Irish grassroots. This is derived from a farming tradition which involved affirmative or negative productivity to a sheltered area, feeding them on a minimum diet under the British colonial domination. In this sense, Heaney`s poetry could become a force, almost a mode of power. As he commented, the power-whether poetic or political- is achieved through linguistic and cultural authenticity of poetry rather than through in front door with an academic skill. His resistance through writing is not from the reductionism but from the receptivity toward rich tradition, so-called bog culture. Finally, this poetic reception of the colonial experiences in poor condition is deeply rooted in his realistic consciousness and it is represented through his motherland or bog land.

스티븐스 후기 시의 마티스적 장식미술 요소

김찬영 ( Chan Young Kim )
7,500
초록보기
The poetry of Wallace Stevens has many painterly aspects. In the early period the poet sees the outer world without preconceptions and depicts it as observed by the naked eye. But in his middle period he turns gradually from representing the outer world to expressing the inner world. He regards the focus on the surface as an evasion of `reality`, and uses words for bold and abstract Fauve colors in search of the essence of things. He deploys those color words in different lines and stanzas as a way of balancing the poetic form, which is similar to the method of composition in Matisse`s paintings. Through this Stevens develops his painterly aspects into a Matissean decorative style in his late period. In his late poems, Stevens chooses a dominant color, an extremely simplified one, for each work, as a means of embodying his reductive perception in approaching `reality`. He also puts intricate phrases in apposition to create rich imagery and vitality as in Matisse`s `paper cut-out` works. However, Stevens continues to express his wish to provide the reader with pleasure and comfort through his `supreme fiction`, which combines imagination and elements of actual life, in a similar way to that which Matisse adopts in his pursuit of an `artificial paradise` through his works.

화자는 누구인가?: 엘리엇의 초기시에 나타난 화자의 다층성

김희성 ( Hee Sung Kim )
6,400
초록보기
This article examines the multi-layered speakers in T. S. Eliot`s early poetry which includes Prufrock and Other Observations(1917) and Poems 1920. Eliot`s philosophy contributes to a breakdown of the traditional metaphysics of the unified “self.” He denounces the unified “I” as an ideal and practical construction. Instead, “a point of view” experiences fragmentary world which, for him or her, is identical with whole universe. The immediate experience is prior to an ideal construction or consciousness. However, this immediate experience becomes the object of consciousness, which means the subject of this experience becomes the object of consciousness. This article demonstrates how Eliot envisions the multi-layered speakers in his poetry. Eliot multiplies the strata of the subject which transforms from the “enunciator I” to the “enunciated I.” Eliot asserts that the only reality is “immediate experience” prior to consciousness. However, immediate experience is incompatible with consciousness and paradoxically cannot be experienced at all. Therefore, experience enters the stage of consciousness. Consciousness is developed within the articulation of language. This brings the multiplicity of “I”s in which the immediate experience of the “I” becomes the object to another “I” which is conscious of the experience. Thus, Eliot`s speakers subvert the homogeneous and static “I” Eliot presents the multi-dimensional speakers.

셰이머스 히니의 『스테이션 섬』의 전략: 불편한 끼어들기

염정인 ( Jeong In Yeum )
6,500
초록보기
This study of the strategy in Station Island shows how Seamus Heaney objectifies his spiritual conflicts and takes poetic voices including his posture toward challenges in life. Heaney, suffering from a sense of guilt for the ordeal of people in Ireland, creates a threatening mood and lets his suffering voices conflict in his poems. This is the way he proves how a poet cultivates his style through the despair prevalent in his age and includes his optimistic stance toward the life in his works. In the center of his poems is a sense of guilt and responsibility as an Irish poet. It is remarkable that he utilizes the stressful emotions as a poetic strategy. While cultivating poetic voices focused on the musical effects in his early poems, he shows the struggle and confrontation between the main poetic voice and other voices inserted into the context in Station Island, which makes a tensional atmosphere. The poet himself is always challenged by uncomfortable voices, however, this inconvenient intrusion gives the entire poems a new energy and liveliness.

미국적 이상주의: 그 계승과 배반의 역사

유정화 ( Jeong Hwa Yoo )
6,200
초록보기
This article attempts to reveal the complex relation between American idealism in the past and the spiritual deterioration of its present day Boston by reading “For the Union Dead.” Throughout the poem, the highly ideal attitude of Colonel Shaw of the Massachusettes 54th is contrasted with the deteriorated morality of present day Boston. The human values Shaw tried to keep alive by even throwing away his life seem to have died in Boston. Apparently, American history appears to have proceeded in the opposite direction from the ideals in the past represented by Shaw. But as the poem`s multi-layered meaning is unfolded, the hidden motives of Shaw`s determined idealism are brought to light. His idealism is revealed to have been stained by death impulses and violence. His own uncompromising rigidity when he led the black soldiers to their death, the bombing of Hiroshima, political anxiety and fear of the 1960s, and the discrimination still spread over the country all serve to prove Lowell`s critical stance about Shaw`s hidden motives. Thus, the complex relationship-succession and betrayal-between idealism in the past and the present reality, as well as the ambivalent characteristics of American idealism itself are revealed by the close reading of “For the Union Dead,” a poem seemingly celebrating Colonel Shaw.

Wallace Stevens` "Mr. Burnshaw and the Statue" in Owl`s Clover: Two Texts and Two Authors

김준환 ( Joon Hwan Kim )
7,300
초록보기
This paper reads Wallace Stevens` "Mr. Burnshaw and the Statue," the second poem of Owl`s Clover (1936), in its socio-political contexts of the mid-thirties. Most of the previous readings have interpreted the text without distinguishing not only between "Mr. Burnshaw and the Statue" (1935-36) and its revised version titled "The Statue at the World`s End" (1937), but also between Stevens in 1935-36 and Stevens in 1937 and 1940. While Stevens in 1935-36 wrote and interpreted the original version responding specifically to Stanley Burnshaw`s urge to follow his popular-front leftism, Stevens in 1937 and 1940 tried to "generalize" or de-contextualize the original text out of its socio-political contexts by deleting historically specific referents and interpreting it in terms of "adaption to change" or "reality" versus "imagination." By comparing and contrasting his letters written from 1935 to 1936 and the original version with his letters from 1937 to 1940 and the revised version, this paper proposes the need to distinguish two texts and two authors in the interpretation of Owl`s Clover as well as "Mr. Burnshaw and the Statue."

John Ashbery`s Poetic Journey into the Selfhood in Flow Chart

박주영 ( Joo Young Park )
6,000
초록보기
This paper aims to explore how John Ashbery`s Flow Chart elaborates on the poetic journey into the selfhood. Flow Chart is a flow chart or schematic outline of an autobiography, which implies some larger, communal narrative more accurately enacted as poetry rather than as linear, directed narrative itself. What the poem insists on is a subversion of linearity. Evoking a river, the poetry constantly describes everyday`s and anybody`s lives, including historical and political events. Through the self-reflexive mode, Ashbery asks the reader to question the construction of poetry and its ability to make any claims for the poetic self. Thus, Flow Chart seeks to configure, however obliquely and among other interpretative valences, the fact that the poetic self is no longer a stable and fixed entity, but is rather a fluctuating construct defined by the selves encompassing and penetrating it. We can see the failure to communicate and understand clearly our false assumptions regarding poetic identity. Ashbery portrays that the self is not only in flux, but also as a part of constant crisis in the erasure of subjectivity.

Blurring Boundaries: Madness and Desire in Charlotte Mew`s Poems

오은영 ( Eun Young Oh )
6,000
초록보기
Charlotte Mew (1869-1928) is a woman poet who was praised by her contemporary writers but almost forgotten to the public until she was revived in the 1980s. By focusing on Mew`s presentation of madness, this paper tries to reveal the significance of Mew`s attempt to unsettle the deep association between madness and women as well as the division of madness and reason. Mew`s questioning of the traditional understanding of madness enables the reader to see the paradoxes of confinement and liberation and thus the absurdity of the border line between the sane and insane, and between reason and madness. Mew`s deconstruction of socially imposed values between sane/insane, male/female, and good/evil leads to her complicated presentation of sexual desire. The second section pays attention to the way in which the poet`s perspective on trespassing fixed boundaries of her society inscribes the issues of sexual desire and madness in her poems. The third section examines how Mew`s unsettling of traditional ideas of desire and madness makes possible the creation of liberating space for her poetic imagination.
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