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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 : 19권 1호 (2013)

부정성의 시학 -포우와 스티븐스

구태헌 ( Tae Hun Ku )
6,100
초록보기
This essay is an attempt to read Edgar Allan Poe`s and Wallace Stevens` poetry and poetical theory from the perspective of negativity, which has been mentioned as one of the key concepts in modern aesthetics since Kant`s “negative sublime”. It is interesting that Harold Bloom underrates Poe`s poetry and poetical theory saying that no reader who cares deeply for the best poetry written in English can care greatly for Poe`s verse, while Theodor W. Adorno presents Poe as one of the harbingers of modernism in that both of them agree to place importance on negativity respectively as the main principle of modern art and ``American Negativity``. Especially Poe`s “Nevermore”, the repeated refrain of “The Raven” can be said to express a peculiar moment of “American Negativity” as Emerson`s or Stevens` “Nothing” does in that it functions as some pivot on which the whole structure of a poem turns and contributes to producing new meanings and thoughts, even if it itself has no definite meaning. How various arguments on negativity or negative presentation can help us understand Poe`s and Stevens` poetry and poetical theory newly and how a new genealogy of American poetry from Poe to Stevens can be possible will be examined.
6,500
초록보기
This paper explores the literary level of meanings in Gertrude Stein`s Tender Buttons and some of L=A=N=G=U=A=G=E Poetry, which seem to have no profound meaning and literary seriousness in a traditional poetic sense. Due to their unconventional syntax structures and use of grammar, they have been studied academically, and yet, not for their “poetic” significance. However, unlike most critics` conclusion that their writings are not for understanding, these texts aim two different goals and have two different narrative methods. This can be explained in terms of modernism and postmodernism. For Stein and some of language poets, such as Susan Howe and Lynn Hejinian, writing style and the meaning of a sentence work differently. First, Stein`s narrative style is to paint an object as a whole, using multiple points of view and three-dimensional structures. This is to visualize the possibility of relative knowledge, and to reflect the writer`s changing consciousness during the writing process. On the other hand, language poets try to show how history is written and settles down as a universal knowledge in the world. They throw questions on the fixed notion of history and the use of language through their preposterous, shocking, and sometimes weird narrative style, which contributes to proving how uncertain “a history” can be, or everything is. The works of Stein and language poets represent the theory of relativity and the uncertainty principle respectively by breaking down the poetic discourse system of the past and establishing their own art of narrative. This will set the theoretical fundamentals for academical and literary research on their texts.

정교한 변덕 -폴 멀둔의 「흑마의 표지, 1999년 9월」

양균원 ( Kyoon Won Yang )
7,400
초록보기
Paul Muldoon`s poems often lack the autonomous structure ordinarily expected from literary works by most modernists. Critical interest in his charm is more or less triggered by the postmodern opaqueness of his language. This article is an effort to look into how his language has to be difficult and how it achieves its validity, by examining “At the Sign of Black Horse”, the last and only long poem in his 2003 Pulitzer prize winning book, Moy Sand and Gravel. Muldoon`s poetry gets inevitably difficult so long as he accepts the world as uncertain in itself. His characteristic difficulty can be more clearly accountable when approached from four causes in terms of its contents as well as techniques. First, his poetry comes from multi-cultural experiences. As his realistic sense not only comprehends the personal but also the historical, Muldoon`s experiences, covering the Irish, English, American, and Jewish, compel him to see the world from multi-layered contexts. Second, Muldoon is inclined to draw his subject matters from unfamiliar resources. A vast array of philosophical or historical materials are provided as fragments without argument. Third, Muldoon habitually uses the technique of interpolating or mixing various fragments in an unexpected way. The poem proceeds depending primarily on association. The transition from one fragment to another looks arbitrary and impromptu, but as the poem goes on, some connections, among those fragments near or far, though not from consequential directness, seem to come into being. When the connections completement one another in their similarities, and get strong enough to make up a certain story, they finally work in the way the autobiographical, historical, and philosophical are all comprehensively considered. Nevertheless, these connections do not necessarily lead up to the autonomous structure of the work. Fourth, Muldoon is hard to read because he bears a playful attitude toward poetry and the world. His cold detachment, when dealing with historical violences affecting his own children`s future, shows that he is less focused on political beliefs than on poetic forms or language itself. The more he abstains from political comments, the more difficult his poem becomes to get hold of. “At the Sign of Black Horse” is a three-hundred-and-sixty-line poem where a variety of knowledge from multi-layered experiences, autobiographical or historical, are mingled together. The connections among fragments seem to be whimsical at a glance, but sometimes articulate at another. The poem reaches a contradictory balance when it seeks the precisely controlled language on the one hand, and the whimsical imagination on the other, and thus may well be a product of deliberate whimsy.

올슨의 수행으로서의 시

최문수 ( Moon Soo Choi )
5,800
초록보기
Chalres Olson`s idea of ``projective verse`` represents Black Mountain group and signals the beginning of postmodernism in poetry. His postmodern poetics, however, bears similarities to modernist poetics, especially to Pound and Williams in that his concepts of ``open verse`` and ``composition by field`` share with the elder poets`` idea of ``ideogram`` or ``objectivism,`` the features like organic form, sincerity, or poetry as an object. But Olson accepts those modernist features strategically and incorporates them into his distinguishing idea of ``objectism``, a form of antihumanism. Although they also consider nature in dynamic flux where energy transferences take place among things, Pound and Williams regard the poet as independent of nature, the poem as autonomous. This implies that poetry is simply a mimetic embodiment of nature. According to Olson, however, the poet belongs to natural processes just like things in nature, and cannot be an independent subject who controls his works. Likewise, the poem is not an autonomous object but a field belonging to the larger field of nature, the universe. For Olson, the poet ``projects`` his subject into natural processes, participating in the kinetics of the entire universe, thereby poetry is an enactment of nature instead of an embodiment of nature.

Articles : On Her Own: Reading Natasha Trethewey`s Bellocq`s Ophelia

( Eun Jung Yook )
6,300
초록보기
From her first collection of poems, Domestic Work, Natasha Trethewey has been engaged with photography, not only as the subject of her poems but also as a means of re-inscribing the identity lost or put under erasure of her African American ancestors. This restoration project comes into a full bloom in her second collection, Bellocq`s Ophelia. An imaginative reading of the series of portraiture of New Orleans prostitutes by an early twentieth-century photographer E. J. Bellocq, Bellocq`s Ophelia gives a name as well as a voice to an anonymous woman in the pictures, a woman subjected to multiple marginalization-an African American female sex worker, and of miscegenetic origin, to boot. In so doing, Trethewey also explores a way to move beyond the conventional bifurcation regarded inherent in photography as an apparatus of looking, namely that of the model/victim and the photographer/gazer.

Articles : Equilibrium of Spatial/Temporal Stillness of Dance in Four Quartets

( Cheol U Jang )
6,000
초록보기
In Four Quartets, T. S. Eliot provides a scaffold for time, juxtaposing mobility of stillness and immobility of dance in terms of time. The poet illustrates why time is not chronological by placing the beginning and the end in the same spatio-temporal position. This essay examines how to approach time and why stillness is a pivotal term in Four Quartets. The poet dovetails what the movement has in space with what duration has in time. By virtue of structure of sonata, the analogy Eliot draws in the tile of Four Quartets implies a multiply folded structure of the poem. Creating a new whole, time is at once destroyer and preserver. This essay focuses on the idea that stillness depends on atemporal pattern in order to re-arrange the entire time. I illustrate that only through pattern, stillness shows us its mobility; its mobility belongs to dance. I explore the interrelationship between stillness and dance by describing what dance is in Four Quartets. In general, people consider dance as movement, excluding "pause". However, for Eliot, dance includes not only movement and but also its pause. I argue that what he defines as a dance contains mobility of stillness and immobility of dance in terms of complete simplicity. In brief, spatio-temporal stillness of dance echoes the qualitative multiplicity of time.
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