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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 : 18권 2호 (2012)

생동하는 감각들 -홉킨즈와 딜런 토마스의 시

신원철 ( Won Chul Shin )
6,400
초록보기
The object of this essay is to compare the poems of G. M. Hopkins and Dylan Thomas on the viewpoint of their vitality. One of the most important features of Hopkins is his sense of vitality in every natural thing, being called his original inscape and instress. That is, he gave life to every natural things (cloud, wind and grass), which move or tremble restlessly like real lives. We can feel his pleasure on every thing under the creative fingers of thankful God, which is expressed as vitality of nature in his poems. We can see the similar taste in the poems of Dylan Thomas. The most impressive feature of this poet is also the vitality of every creature. Thomas also notified the energy of creatures and enjoyed writing it in his poems. He is one of the most important Hopkins followers, who had realized the idea of inscape in his poems. Hopkins`s poetic world is not wide or various and Dylan Thomas did not go along with the philosophical or pedantic stream of his contemporary poets. But their poetic world is very original and affected much to the following generations. Both of them happened to be in pleasure and bliss of the beautiful nature of Wales, for their poetic achievement.

셰이머스 히니 시의 반어법과 페이소스에 대한 고찰

염정인 ( In Yeum Jeong )
6,800
초록보기
This study examines how Seamus Heaney modulates tones and operates mood in his poetry, focusing on a few works dealing with his childhood and memories in Death of a Naturalist. In some of his earlier works, he described how a growing young man had undergone unpleasant transformation. The speaker pretends to assume an objective attitude toward what really happens in daily lives. He seems to keep his composure and speaks in a calm tone. However, his underlying tone also shows his pity on things. Consequently, his tones show the situation ironically, which produces the mood of pathos effectively. Besides tones, unique structure, sounds, and even sentences create irony and contribute to his pathetic mood in subtle ways. This is the way he manages his personal remembrance and Irish matters. The way of handling personal experiences and issues ironically confirms his modern technique. Another goal of this study is to know what features Heaney`s pathetic mood and how it will develop. In his later works, Heaney thinks highly of maternal tolerance and some critics find so-called "female principles" in them. His pathos in earlier works functions as a prop in the development of his later works respecting feminine sensibility. The strength of this feminine quality is that it can sympathizingly embrace all troubles of life. His pathos contributes to his attitude to connect sympathetic sensibility with positive values of life in his later works.

침묵과 고백 -T. S. 엘리엇과 로버트 로월의 시적 실험

이홍필 ( Hong Pil Lee )
11,800
초록보기
It seems quite true that writers are destined to compose their works under the spirit of the day. Each age bears its own zeitgeist according to which the world views of the writers are formulated. In order to manifest the zeitgeist of their age, poets have accordingly invented and put into practice new poetics most relevant to the overall spirit of their age. This essay examines the two different poetic experiments performed by T. S. Eliot and Robert Lowell, Shattering the poetic experiment of the British Romantic period, and employing that of metaphysical poetry, T. S. Eliot ventured to establish his own poetics: "poetry is an escape from emotion." He thought that the poetics established before his age was not appropriate to express his own age. His poetics was an attempt to communicate with his age and to express its spirit as well. It was quite successful due to his contemporary European aesthetic atmosphere-Modernism; it also influenced poets on both sides of the Atlantic Ocean for several decades. In the mid-1950s, however, his poetics was challenged by a new poetic experiment in America. It was Robert Lowell that challenged Eliot`s poetics and established a new poetic experiment: "confessional poetry." Lowell also thought that the overall climate of America at his time should be embodied by a new poetics: manifestation of the poet`s own self. This new poetics helped deal with his autobiographical facts: that very forbidden fruit for Eliot. Like that of Eliot, his poetics was considered successful, breeding a number of sympathizers in the contemporary and succeeding periods, Whatever frictions exist, however, their poetics have some things in common with each other, Just as post-modernist philosophers suggested, neither was able to be extricate himself from the networks of tradition and the historicity of language.

마가렛 앳우드의 『타버린 집에서의 아침』의 죽음, 우울증적 주체와 예술 창조

최태숙 ( Tae Sook Choi )
6,600
초록보기
This paper examines the ways that Atwood, in her poetry collection Morning in the Burned House, explores hopeful signs of reconciliation and renewal even as she explores human suffering, conflict, and death. In this collection, which features self-elegy, Atwood yokes together the melancholic subject with the process of artistic creation to create an aesthetics of rapprochement. Intertwining the fictional and the real or material, Atwood engages in the work of mourning through which she is able to revitalize herself. This is the way in which Kristeva elaborates her view on art or writing by linking artistic creativity with melancholia. Incorporating the problematic version of her father in the poems, Atwood creates a character whose very nature is dynamic model of the writer`s doubleness, and substantiates her own work of mourning. Unlike the traditional elegy, in which the mourner seeks substitutes for his/her loss, the speaker challenges loss and death by incessantly conjuring up what she has lost. Rather than close off what her father`s death has set in motion for her, Atwood offers us a narrative of subjectivity or identity where trauma remains legible in a liminal yet continually present fashion, The fear or desire of death is kept present in the melancholic subject; it is not consigned to an oblivion. Atwood`s mourning poems illustrate how writing and narrating can act as agent through which to overcome melancholia.
6,800
초록보기
Adrienne Rich is, strictly speaking, not a religious poet. She neither meditates on the religious truth nor makes an attempt to transmit her religious insights or comforting religious messages to the reader. However, she had confronted Judaism because Jewishness of her identity would claim her, regardless of her wish to be called a contemporary American poet, all throughout her life: both Jewish community and White society had constantly asked her to provide an answer to their question of ``what she is`` and constantly attempted to hit the last nail to the identity`s coffin with what they thought she was. As some one who had lived on the border of ``what is`` and ``what is not,`` Rich knew that her efforts to meditate on her identity would be almost already grounded on the religious context, and knowing the fact, she approached the politics of identity with utmost seriousness. In this respect, her meditation of a bordered-identity comprises the definition of a religious act and, in a way, could be claimed to be much more religious than that of a religious poet. This paper analyzes, thus, Rich`s meditation on her own border-identity as white middle class Jewish lesbian feminist mother and tries to illuminate how she unravels the complicated thread of her identity and winds racial, class, and sexual politics into a ball of feminist historical consciousness. Starting from her essay "Split at the Root," this paper examines some of Rich`s poems on the subject of religion and historical amnesia and enlarges the range of her feminism to feminist spirituality. Ultimately, this paper underlines Rich`s earnest religious attitude toward the act of accountability to her own self, her people, her mother country.

타자의 고통 재현의 양가성 -수지 곽 김의 한국전쟁 시의 경우

황준호 ( Joon Ho Hwang )
6,200
초록보기
This essay discusses the political and aesthetic significance in Suji Kwock Kim`s description of Koreans` suffering as a way of reviving the Korean War, conventionally referred to as the "Forgotten War" in American society. The war serves as key subject matter in her first book, Notes from the Divided Country (2003), which received much critical acclaim, including the 2002 Walt Whitman Award of the Academy of American Poets. In her Korean War poems, Suji Kwock Kim represents Koreans` collective suffering through the crystallizing images of violated bodies and the old battlefield hidden in contemporary Seoul. The essay focuses on the potentially ambivalent effects of her aesthetic strategy of provoking American readers` humanitarian feelings toward Korean victims as well as the risk of re-inscribing stereotypical portrayals of ethnic minorities and their foreign lands. The multiple readings lead to the argument that Kim`s war poems should not be construed simply as an attempt to familiarize American readers with an old Third World tragedy. They also capture Kim`s position as a second generation Korean American where the dualism between same and other is more subtle and complicated. In this regard, I would argue that Kim`s war poems reveal the possibility that contemporary approaches to the more than 60-year-old "Forgotten War" can still create a site for debatable political and literary concerns.

"Kill the explicit sentence": De-Centering Moves in Paterson

( Jung Pil Park )
6,400
초록보기
Compared with Eliot and Pound, Williams more vigorously participates in a foundational reform of poetry, even relishing a disruptive and destructive atmosphere, approximating postmodernism. Although Eliot desperately pursues the great tradition and Pound feels some tension between tradition and the modernist`s innovation, Williams more tirelessly drives himself towards schismatic and conflicting aspects of American life. He appropriates the theory of nuclear fission in physics, applies the concept of the rupturing to other domains, and embeds many abrupt differences and conflicts in his narratives. In terms of style, by using singular techniques such as unexpected spacing, isolated periods, and insertion of prose, he tries to subvert the classical models of linguistics and logic. However, Williams does not miss the necessity of seeking a rather stable meter or order, particularly in confrontation with a critical situation, an approach that separates his work from postmodernity, considering that the latter thoroughly redefines order from the perspective of nothingness and difference, not as a return to binary systems. Then again, while yearning for a certain center, Williams soon attempts the distortion of rather solid structures. That is, the de-centering motif or the propensity toward the desire to transgress is always latent in his intention. Therefore, he arranges the path very close to a full-scale postmodernism.

Interrogating Iconized Masculinity and English National Identity in Carol Ann Duffy`s Poetry

( Bo Mi Jeon )
6,400
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This paper attempts to investigate the dynamic relationship between English nationality and masculinity represented in Carol Ann Duffy`s poetry, arguing that Duffy`s unique portrayal of everyday discourses reveals the often-violent emptiness of implicit stereotypes about Britain`s national identity and masculinity ideals. One of Duffy`s main concerns in her poetry was the construction of England`s nationality during the 1980s, when Thatcher`s government brought a number of economic and political changes. At the time of drastic social change, what the national discourse offered was a powerful vision of a strong England that pursued the most masculine and heroic virtues. However, Duffy was rather skeptical toward the public attempt to make a coherent English identity since she observed the fundamental contradictions and instability inherent in the construction of Englishness vis-avis heroic masculinity. While keenly observing how the hegemonic English nationality was being developed within everyday discourse, she shrewdly creates a social satire, utilizing the chance to criticize the publicly accepted gendered prescriptions of Englishness. Here, the poet`s use of laughter as a key element of her social criticism is worthy of attention since its universal and ambivalent character allows the readers to gain instant access to the counterculture.

The Dark Angel of Fine Clothes to the Jew

( Robert Grotjohn )
6,400
초록보기
While Langston Hughes`s 1927 volume Fine Clothes to the Jew has been widely admired as one of his best works, there have been no sustained efforts to read it as a cohesive whole. This essay shows how the work coheres through the central importance of its central poem, "Angels Wings." A careful reading shows that the poem reveals a blues theology that runs throughout the volume. By establishing the significance of blues theology to the book, this study shows how Fine Clothes to the Jew speaks to and includes the larger African-American community through a holistic theology that encompasses the profane as well as the sacred. Such a theology also signifies on and overturns a sycophantic version of double consciousness by elevating the "low-down" people of the black community. In that elevation, Hughes refuses the role of the poet as an isolated artist but writes from a communitarian aesthetic. While the blues poetry of Hughes has received considerable attention, the connection of those blues to African-American theology has been neglected and adds a new perspective to the understanding of Hughes`s poetry. That connection also suggests a parallel with Korean minjung theology and literature as an amalgamation of originary belief systems and Christianity.
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