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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 : 15권 1호 (2009)

셰이머스 히니와 신경림 시에 나타난 사실주의적 서정성

강민건 ( Min Gun Kang )
6,000
초록보기
Motivated with Spivak`s term "subaltern" and "parochialism", the purpose of this paper is to present a realistic lyricism and to demonstrate the poetic voices of modern contemporary poets, Seamus Heaney and Shin Kyung-rim, who have been approved by critics as the mainstream poets in 20th-century Irish poetry and Korean one. The common ground of realistic lyricism is based on Kavanagh`s argument that "parochialism in literature has the universal meaning against the Western literary centrism." That is to say, the modern literary society tends to regard the marginal literature as the inferior one. But the parochial writing is to overcome the established attitude in Western literature. At this juncture, Shin and Heaney, rather than focusing on particular events from the present to future, concentrate primarily on the hinterland, remembering subaltern`s life, history, territory, and tongue of native grassroots. Their writings are not from the Western literary tradition but from the native receptivity toward the rural life and its reality. Finally this poetic reception of the real experience is deeply rooted in their realistic lyricism.

"객관적 상관물," "대상 a" 그리고 "맥거핀" -엘리엇, 라깡 그리고 히치콕

구태헌 ( Tae Hun Ku )
6,500
초록보기
Challenging the assumptions which underlie Eliot`s understanding of Hamlet`s emotion as a failure, this paper problematizes the `objective correlative` which has served as a touchstone of poetic Modernism and epitomized a major transformation from the romantic poetics of authorial self-expression to a new modernist poetics based on objectivity and impersonality. Why Eliot termed Hamlet an artistic failure instead of inheriting the tradition of the Romantic Hamlet from Schlegel to Freud can be newly discussed by locating and re-examining the `objective correlative` in comparison with Hitchcock`s `MacGuffin` and Lacan`s `object a.` As is well known, `MacGuffin` is the empty pretext which just serves to set a story in motion, but has no value in itself. If the alienation of subject into the symbolic order means to set a story of him or her in motion, `MacGuffin` can be said to play a similar role with Lacan`s `object a` which "takes the place of what the subject is symbolically deprived of" in that both of two indicate the lack of the Real and set in motion the symbolic movement at the same time. While claiming that Hamlet`s emotion is in excess of facts and lacking an objective correlative, Eliot tries to deny that there exists a void in the symbolic order or signification which "is inexpressible," called `MacGuffin` by Hitchcock or `object a` by Lacan and escape from `the real` of Hamlet or the world to secure a corner in the room and continue his fictive dominance over women or the world like `Prufrock.` This can be why Eliot failed to see Hamlet as "the drama of an individual subjectivity."

딜런 토머스 시에 나타난 몸-모리스 메를로-퐁티의 몸 철학을 중심으로

김경화 ( Kyung Hwa Kim )
6,300
초록보기
This paper aims to interpret Dylan Thomas` poetry in the light of Maurice Merleau-Ponty`s theory of body opposed to Descartes` mind-body dualism. Though never having read Merleau-Ponty`s books, Thomas writes poems centering around the body which is one of the philosophical topics of Merleau-Ponty. While Merleau-Ponty wants to establish the theory for community based on body, Thomas tries to write the poems that can be understood by the immediate sensation of the body. Writing poems on body, Thomas struggles to bring the "overclothed blindness" into the "naked vision" and to come "from darkness towards some measure of light." Thomas` poems have been studied mainly on the basis of psychoanalytical approaches, which is likely to narrow a distinctive possibility of interpretation. This study focused on Merleau-Ponty`s theory of body enables us to regard Thomas as a religious poet who rethinks the sacred meanings embedded in our bodies. According to Merleau-Ponty, the world and the human body are so intricately intertwined that each object is a mirror of all others. All others could be communicated with us through bodily involvement. The concept of "flesh" introduced by Merleau-Ponty helps to fill up the gap between us and the others. Similarly, in a poem like "This Bread I Break" Thomas celebrates "flesh" bridging nature and men, men and God through the mystery of transubstantiation. Rereading poetry of Thomas based on Merleau-Ponty`s theory of body can show that lots of ambiguities of Thomas` poetry may be deeply rooted in the sacred of body.

드니스 레버토프의 두 가지 목소리

김희성 ( Hee Sung Kim )
6,500
초록보기
This article explores how Denise Levertov identifies a woman`s double selves with the domestic gender role and artist, and works toward constructing a female identity and voice in her poetry. She demonstrates a continuity of the theme concerning the self-split in a substantial number of poems. In her early poetry books, Here and Now and Overland to the Islands, she is unable to rebel successfully against the domestic self, and her poetry remains a contradictory and problematic pursuit because of pressure exerted by culture and ideology and her own internalization of their values. In the 60`s, however, she acknowledges the presence of the self-split without efforts to submerge or deny it. Furthermore, she suggests that the split is found between the woman and the masculine-defined world. Significantly, Levertov as an artist struggles against the influence of the gender role, but she rarely portrays this self as a victim. In the 70`s, her new vision of wholeness preserves her from a fruitless polarization. She develops the maternal as a mode of women poets` authority, emphasizing an interactive form of contact between self and others. Levertov achieves an understanding and healing that allows her to remain free of self-defeating reduction by claiming her womanliness as a necessary condition of her artistic voice and vision.

엘리엇과 프루스트의 문학적 테마로서의 시간성에 대한 고찰

이철희 ( Cheol Hee Lee )
6,500
초록보기
Eliot as a poet and critic has drawn much attention, and his works have been researched and studied extensively. Of his works, Four Quartets has been dealt with from the perspective of time and timelessness, along with the musical effect of the versification with beautiful rhymes and rhythms. This poem is also characterized by a sense of historicity. Focusing on some of Proust`s themes, this study attempts to define Eliot`s time. Eliot tries to present his own abstract and metaphysical time realistically and concretely by using Proust`s themes, such as memory, recollection, and objects. Proust`s literary themes Eliot uses in his own poem make it read like a novel: Eliot uses a continuity or a memory or a recollection, as in Proust`s novel. Both Eliot and Proust deviate from the definition of the time we use. That is, their time is different from the arrangement of time physics or natural science defines; to them, time moves up and down, flows on without a definite point, crosses over past, present, and future.

디지털 미디어 기술을 통한 아방가르드 영시의 텍스트 확장 가능성

최용미 ( Yong Mi Choi )
6,400
초록보기
Digital media made the Gutenberg print culture move towards a culture based on a totally different paradigm. As a result, electronic writing has become the field of possibilities to embody the various attempts of poststructuralist literary theories, which have tried to deconstruct the homogeneity based on the Western rationalism. These new conditions of text made us recognize the analogy between the poetics of innovative poetry in the twentieth century and digital works in the twenty-first-century media. With this radical change of textual conditions in mind, a pilot project was set up to make a digital text of Williams`s print poem, "The Great Figure," and Demuth`s poster portrait, I Saw the Figure Five in Gold, through an interdisciplinary study of English and Media engineering. This was planned to be a multimedia text combining word, image, and sound and enhance the understanding of intertextuality between the poem and the painting, by exploring the structure of each text with the aid of digital media. It is expected that the digital version of William`s print poem will enable us to experience the innovative message of the poem and contribute to the extension of textuality from the static presentation of an "object" to the dynamic performance of an "event."

Articles : Provocative Spectatorship: John Yau`s Poetics of Looking and Seeing

( Earl Jackson Jr. )
6,800
초록보기
This paper focuses on the work of the poet/art critic John Yau, who in many ways draws on and extends the legacy of the poet/art critics of the New York School, in particular Frank O`Hara. A comparative reading of two such poems from the angle of "provocative spectatorship" illuminates not only the similarities between O`Hara and Yau but also the differences in aim, and of course cultural context. Yau`s manipulation of the elements of language goes beyond the quasi-diaristic "personalism" of O`Hara. Yau`s commitment to epistemological adventure, nevertheless, does not leave his predecessors behind, but rather supports his recuperation of the value of their work as art critics. Here the paper begins a two-tier trajectory for tracing and distilling Yau`s poetics. One tier is articulated through various moments in Yau`s defense of O`Hara`s writings on art against the canonical art critical tradition represented by Clement Greenberg and his disciples. The second tier explores resonances between Yau`s challenges to the presumptions of Greenbergian art criticism and Yau`s poetic response to moments of unglossed perception. The final focus in this initial inquiry into John Yau`s poetics concerns the profound degree to which his "situated knowledge" as a Chinese American informs his alienated scrutiny of the "medium cool" distance of pop art and postmodern celebration of surfaces. In delineating these aspects of John Yau`s work, I hope to show how John Yau`s poetics of looking operates on several levels and across several discourses at once, while maintaining an intellectual, aesthetic, and ethical integrity.

Articles : Meaning of Flowers in Robert Frost`s Poetry

( Won Kyung Shin )
6,000
초록보기
This paper investigates the imagery of flowers in Frost`s poetry. The flower is an important poetic character in his nature poetry. The symbolic imagery reflects men`s consciousness and intrinsic attributes. First, in "The Tuft of Flowers" and "Flower Gathering," flower imagery reminds the speaker of his relation with other people. Such imagery links two people firmly, turning the speaker`s mind to his social world. Second, flowers symbolize feminine sexuality in some of Frost`s poems such as "The Subverted Flower," "The Telephone," and "Wind and Window Flower"; sexual image of flowers evokes love toward a woman. Finally, flowers symbolize human mutability. Poems with such imagery include "A Boundless Moment," "Nothing Gold Can Stay," and "The Quest of the Purple-Fringed" among others; They reflect Frost`s personal tragedies and his philosophy on human nature. Flower imagery tends to change throughout Frost`s life, reflecting his change in consciousness and attitude towards life, expressing diverse aspects of human nature.

특별기고 : 현대 영미시 번역에 대하여

김상무 ( Sang Moo Kim )
7,500
초록보기
The purpose of this paper is to assess the current state of modern British and American poems in Korean translation. Academic research on the modern British and American poets by Korean scholars began in 1945, and so far three generations of scholars have actively engaged in the studies of them and translation of their works. However, based on my examination of nearly all of the Korean translation of the quoted verse lines appearing mainly in the Studies in Modern British and American Poetry published by the Modern British and American Poetry Society of Korea between 2006 and 2008, I argue that translation endeavors by the second and third generation scholars have not yielded satisfactory results and that the senior group of scholars cannot shirk its responsibility. The problem areas in the translation include choice of words and phrases, tense adjustment, versification and punctuation as well as scene description and poetic imagining. Following a detailed discussion of inappropriate and awkward translations, I offer my own translation for comparison if need be.

서평 : 포스트모던 시대의 영미시

노저용 ( Jeo Yong Noh )
4,500
키워드보기
초록보기
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