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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 : 17권 2호 (2011)

예이츠의 시에 나타난 신화의 재구성

강민건 ( Min Gun Kang )
6,400
초록보기
The paper tries to explore W. B. Yeats`s poetic representation from the perspective of decolonizing process approach as a respect of reconstruction of established mythology. Yeats has been generally considered as a romantist, occultist, and even modernist. However, this paper regards Yeats as a decolonialist living in a colonial society, and attempts to locate Yeats in the context of decolonialists` view including Frantz Fanon, Edward Said, and Gayatri Spivak. Decolonizing process as a literary reading is becoming an influential textual strategy rather than remaining as one of the academic master discourses. So far, the established textual reading theories have been closely related to logocentrism, and they failed to be acknowledged as an objective way of reading. For this reason, the decolonizing process has an important implication in the sense that it subverts the colonial ideology within the context of colonized society, and at the same time, reconstructs counter-discourse to find out self-identity and decolonized space. I try to examine the process of his poetical writings and his attitude against colonialism. To do this, my major interest is in his myth and language employed in his poetry. And I attempt to search for the true Irishness in which Yeats makes every effort to materialize the reality of Ireland in his poetry. To sum UP, the decolonial discourse and its textual strategy have important implications that lay bare the dominant ideology hidden in the seemingly impersonal intention of imperialism.

에이드리엔 리치의 시: 트라우마적 실재의 수사학

김경순 ( Kyung Soon Kim )
7,100
초록보기
As a feminist poet, Adrienne Rich contributes her radical subjectivity to political process: by making private perceptions public, she establishes a coherent point of view, a feminist identity, and poetic vision. It is evident that poetry can be written in order to evacuate intolerable unconscious material. This is the case for Rich. Rich determines that as women internalize the requirements of social narratives of domesticity, beauty, and love, they are divided from themselves and from each other. Rich feels deep anger in relation to the world and its injustices and atrocities. However, Rich is mobilized by her anger and believes in the power of words to transform anger into a creative vision. Writing about trauma presents painful dilemmas such as division, solitude, and anger, for writers and readers alike. My study focuses on how the trauma is manifested in the poetic text of Rich and how the speaker gives voice to new identities. Poetic text becomes the effective index of the trauma through affective and unconscious associations―gaze, voice. In other words, Rich uses poetry as a way of giving voice to trauma and furthermore, as a way to connect with others. One might say that Rich`s poetic text is evocative of Lacan`s subjectivity. What Lacan means by subjectivity is the way subject replies the demand of the Other that takes the form of an object such as ``real voice`` and ``real gaze`` which overwhelms and presses at subject, as embodied in memories or psychic realities such as fear, solitude, loss of control. Real gaze/voice embodied in the speaker`s tone models a stance that mocks cultural values. Traumatic real is ingrained in Rich`s poetry, and Rich`s method of weaving her texts focuses the reader`s attention on trauma such as loss, solitude which defies representation.

최재서의 엘리엇 읽기에 대한 몇 가지 단상

김준환 ( Joon Hwan Kim )
7,500
초록보기
This paper traces the trajectory of Jae-Sou Choi`s reading of T. S. Eliot from 1933 to 1942. Jae-Sou Choi, who studied English literature―particularly British Romanticism―at Keijo Imperial University, adopted the literary and critical discourses of Eliot (as well as those of T. E. Hulme, I. A. Richards, and Herbert Read) in his making of the theory of Intellectualism. Choi repeatedly referred to "Tradition and the Individual Talent" (1919) and "The Function of Criticism" (1923) along with "Poetry and Propaganda" (1930), The Use of Poetry and the Use of Criticism (1933), After Strange Gods (1934) and "Catholicism and International Order" (1936) focusing on such concepts as tradition, ideal order, and outer authority. In doing so, he attempted to overcome what he thought were the limitations of Romanticism by emphasizing these concepts as distinguished from the Romantic ones of "personality" and "Inner Voice." However, his reading of Eliot changed according to the degree of his involvement in the moral and political issues of literary criticism during the Japanese colonial period. Examining three different phases of Choi`s reading of Eliot, this paper not simply traces the changing phases but reveals how Choi merged the concepts into his later rhetorical strategies advocating the imperial ideology of the "new world order" ―Greater East Asian Co-Prosperity Sphere―in the late 1930s and early 1940s.

엘리자베스 비숍과 들뢰즈의 "잠재성"

박재열 ( Jae Yeol Park )
7,000
초록보기
Art is concerned with the intensities of life rather than representation of any given human nature or identity. Its method of presenting material, sensual signs is therefore a door to the virtual from the actual. Elizabeth Bishop is aware of the significance of the virtual in her poetry as is evident in "The ``Darwin`` Letter." Furthermore, the space into which the girl in "In the Waiting Room" falls is that of virtual intensities, rather than the vacuum of common identities. Deleuze denies the individual or subject as the source of various forces and properties and sees the flow of intensities as being effected into that individual or subject. This view is reflected in Bishop`s "Man-Moth", where the passive subject forms himself out of "contractile contemplation," while another passive, narcissistic, larval subject in "The Weed" verges on mental dissolution due to its "empty form of time." In "Paris, 7 A. M." the narrator`s memory-images, an element of the virtual, transform themselves by interacting and fusing with the actual perception-images. Finally, in "The Fish" two heterogeneous series (the fish and the boat) bring about an epiphany through the catalyst of the "dark precursor." The narrator arrives at a sudden virtual realization that everything is ultimately full of rainbows, so that she releases the big fish she had caught, which has lost its significance.

에드가 앨런 포우와 테드 휴즈의 까마귀

신원철 ( Won Chul Shin )
6,600
초록보기
We can read a kind of dark evilness in the poems of Edgar Allen Poe and Ted Hughes, and that is symbolized as a crow. They created crows as a poetic character which represents their tragic psychological situation. Poe seems to write his poem "The Raven" as a series with his dark novels and its poetic mood is sad and tragic. The poet yearns his dead woman to return, but instead of the woman, a big crow appears in front of him. It answers only "Never more" to the repeated asks of the sad poet. There is not any other accident or action in this poem but the monologue of the speaker without any answer from the crow, which makes the readers feel grotesque ambiguity. The crows of Ted Hughes are more mischievous than that of Poe. Even God cannot control this dirty and noisy crow. His crow is far more evil than Poe`s and it is also very well symbolized as an evil mentality. It is interesting to note this evilness is related with their failure of love and marriage life. Poe`s wife, Virginia Clemm died wretchedly in extreme poor financial condition. His poem "Annabel Lee" was written in the sadness after the death of his wife and "The Raven" is also related with it. Ted Hughes also experienced the suicides of two women whom he loved. Particularly the death of his wife, Sylvia Plath, was a big shock to him. But he silently stood all the reproach of the world for 35 years and published his last anthology Birthday Letters memorizing his last wife in his death year(1998). The death of women seems to cause these dark poems born and it can be another example for genius to create a good work of art in their deep depression.

프로스트 시와 스티븐스 시의 메타시학

양병현 ( Byung Hyun Yang )
6,900
초록보기
For Frost, poetry should be composed so sad and sincere and at the same time so happy in achievement. This poetic principle drives Frost to consciously design romantic sensibilities, a kind of emotional involvement in nature, and then transform its images into solid satisfaction in a sadness with systematic metaphors put in order of life. His poetry, especially the poems "The Oven Bird" (1916) and "Desert Places" (1936), does not just follow in the well known pattern of romantic woe or pleasure just as seen in poetry of William Wordsworth or Ralph Waldo Emerson. Frost rather strategically tries to allude such romantic poetry to what Edwin Arlington Robinson did with poetry in order to make a different form of poetry that looks sad and true to human life, yet carefully formed and worded: a metapoetic strategy by critically using related vocabulary at which he seems to excel to reflect on poetry and its own poetic program. In a different way from Frost, Stevens uses a new poetic program which is developed to design a "mock-judicious, mock-pompous setting of genteel debate," such as seen in his poem, "A High-Toned Old Christian Woman" (1923): "fun with the idea of an objective moral order possessed of religious authority" according to Milton J. Bates. Similarly, the poems, "Thirteen Ways of Looking at a Blackbird" (1931) and "The Snow Man" (1931), get sometimes classified as one of Stevens` "poems of epistemology," yet it can be read as a system of related metaphors that are consciously and carefully used to allude the naturalistic skepticism that he absorbs from romantic sensibilities. In a style of the supreme fiction, his metapoetic strategy thus helps develop its different poetry of nature and life systematically with his multi-perspective positions ?? the perspectives that human imagination brings to "the nothing that is."

하강여행 ―메리 올리버와 데이빗 화이트의 시를 중심으로

이세규 ( Se Gyu Lee )
7,500
초록보기
This article aims to examine the motive of the underworld journey in the poetry of Oliver and Whyte. This examination reveals the idea that we can only uncover the secrets of our souls by journeying into the unknown, deep into the darkness of ourselves. In contemporary industrial society, no one is willing to enter the underworld except when carried off, like Eurydice or Persephone, by a great loss, or by depression. Yet our individual soul is the core of our human nature, the reason for which we were born, and the essence of his specific life purpose, and journeying into the underworld is a way of meeting our soul`s desire for a more fulfilling life. What the soul longs for may have little to do with any of our ego`s schemes―for abundance, for peace, for release from struggle and conflict; the soul is truly eager for a larger life. This will seldom be found in avoidance, but in seeking places of spiritual risk and psychic danger. The goal of life is not happiness but meaning, and therefore those who seek happiness by trying to avoid suffering will find life increasingly superficial. For Oliver and Whyte, life is not a problem to be solved, finally, but a series of engagements with the cosmos in which one is asked to live as fully as one can. Their poems seem to suggest that in so doing we serve the transcendent meaning that is expected to be brought into being through us.
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