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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 : 20권 2호 (2014)

아이버 거니의 전쟁시-전원의 기억과 전장의 현실

김양순 ( Yang Soon Kim )
6,900
초록보기
In order to deal with the Great War and Ivor Gurney’s poetry, this paper starts with Paul Fussell’s questions in The Great War and Modern Memory: “What did the war feel like to those whose world was the trenches?,” “How did they get through this bizarre experience?,” and “How did they transform their feelings into language and literary form?” This study examines the poetry of Ivor Gurney, and discusses the contrast and juxtaposition of his homeland and his battlefield. His works have gained relatively less attention, due to his career as a composer and due to his insanity, than those of other World War I poets such as Siegfried Sassoon, Wilfred Own, and Isaac Rosenberg. In addition to the two slim volumes of his poetry, Severn & Somme (1917) and War’s Embers (1919) that were published during his lifetime, this paper covers some poems of his posthumous volumes, such as Ivor Gurney: Collected Poems (1984) and Rewards of Wonder (2000), exploring how Gurney attempts to forge meaning out of his horrendous war experiences. In his poetry, Gurney poses as a pastoral walker, a soldier, and an artist. More significantly, facing the physical reality of the war on the Western Front, and juxtaposing this with his recalled homeland landscapes, he poignantly reveals the terrible truths of the battlefield. At the same time, from his distinctive memories of the Gloucestershire landscapes, he draws the strength to cope with his war torment. Even after being discharged from the army, he composed poems in a mental hospital that reflect his later perspective on the traumatic war experiences juxtaposed with his pastoral memories, in order to reconstruct a “momentary stay against confusion” and chaos. On the 100th anniversary of the breakout of World War I, this paper stresses that Gurney’s consistent and sincere attempt to create a “wrought” art through imaginative processes under disintegrating and desecrating circumstances should be reevaluated.

홉킨스의 사제 역할과 동성애적 욕망

김연규 ( Yeon Gyu Kim )
7,500
초록보기
The purpose of this paper is to analyze the relationship between Hopkins` priest roles and homosexual desires. Hopkins as a parish priest takes charge of priest` fundamental duties such as the Communion. His desire for another male body is expressed through the sacrament, which grants him the privilege of a sacred union with another male, as in “The Bugler`s First Communion.” However, his eventual employment as a professor in Ireland takes him away from a setting wherein he can express and realize these desires in a sacred way. Therefore, it becomes impossible for him to couple with another male in an acceptable, divine fashion. Absent from this possibility, he is reduced to erotically watching the bodies of other males, as in “Harry Ploughman,” which makes him feel isolated and causes him to view himself as an “eunuch.” These two poems are the evidence of the sublimation of his homosexual desires into the religion and also of his terrible anguish in Ireland as a result of his alienation from the fundamental duties of the priesthood.

조이 하조의 시에서의 에로틱한 사랑-그 양가적 이미저리를 중심으로

박연성 ( Yeon Seong Park )
6,200
초록보기
This study aims to discuss the binary imagery in Joy Harjo’s erotic love poetry. In one group of poems, the imagery is devoted principally to portraying the joy and power of erotic love. The images of the moon, flowers, parts of woman’s body, fire, a flying hawk, wind, uranium, and electrical reactions are used in those poems. The other group presents images which portray aspects of the darker side of erotic love. Some metaphors used are war, blood, cold climate, turquoise and bruises. Even if Joy Harjo argued for the joy and power of erotic love in her prose pieces, the experiences of erotic love shown through imagery in her poems are binary in their characteristics-affirmative forces as well as destructive forces. We can interpret the binary aspects of imagery regarding erotic love derived from the character of eros that can be both bitter and sweet.

『딕테』에서의 독자

손혜숙 ( Hye Sook Son ) , 최보윤 ( Bo Yun Choe )
6,200
초록보기
This paper aims to examine the reader`s position in Dictee. For Cha, the reader is not only the receptor but also the activator of her works. Her aesthetic vision is very much like that of the reader-response theory, in which the reader casts himself or herself in the role of co-writer of the text. Like most reader-response critics, Cha conceives reading as an active process of regenerating meaning. The relationship between the reader and the narratee in Dictee is very precarious and unpredictable, so the reader is, in many cases, abruptly equated with the narratee by the narrator though being left uninformed about the narrative process. Dictee is also invested with many blanks, visual as well as conceptual, which will eventually lead to many halts and hesitations on the part of the reader. All this considered, Dictee can be counted as a “writerly text,” liberating the reader from the passive reception of commodified meaning and providing a space of interfusion between the author and the reader.

의사소통의 언어에 대한 증오-미국 언어시의 생존력

양균원 ( Kyoon Won Yang )
8,000
초록보기
This is an effort to examine the birth and development of the Language movement which started in the early 1970’s by the most experimental avant-garde poets of their day, to subvert so-called “official verse culture.” The Language movement is so diverse in its arguments and practices, but in a loosely collective way, its practitioners have developed various theories and poetries which could be summarized in four distinct features. First, Language poets fundamentally question the referential function of language; second, they consciously avoid exerting the lyrical subjectivity in their poetries; third, they show a Marxist critique of capitalistic culture; and fourth, they often ignore traditional classification of genre, and combine theory and poetry. Language poets can be said to be top-heavy and may be turned away by readers owing to their revolutionary ideas and forms. But now with their solid political and aesthetical accomplishments, they seriously provide us with some significant questions about what poetry can be and where American poetry should go.

앨리스 풀턴의 실험 시학-배치와 다수성

윤일환 ( Ilh Wan Yoon )
6,600
초록보기
Alice Fulton rejects the assumptions of the two most widely recognized poetic camps in recent decades that poetry should follow either mainstream conventions of expressive personal lyric or the radically disjunctive forms of Language Poetry. Her experimental poetics embodies the unconventional or innovative dimensions by drawing on scientific metaphors from modern science. Her poetry is immediately recognizable for its elaborated conceptualization of assemblage and multitude that connects and traverses heterogeneous elements laced with modern scientific terms. Her poetry, however, does not explore its images in the abstract object or independent area; rather it extends its boundary to the social and political culture constituted by performative practice. Fulton redefines and recreates poetry according to the multiforms of experience and intellect, branching out in numerous directions and intersecting on their separate paths to infinity.

“폐허의 영감(靈感)” -월러스 스티븐스의 「로마의 노철학자에게」

윤준 ( Joon Yoon )
6,000
초록보기
Wallace Stevens’ “To an Old Philosopher in Rome,” a meditative eulogy on the last phase of the life of George Santayana, has often been regarded and extolled as one of his best last poems. Based on Edmund Wilson’s article on his visit to the old philosopher in Rome in 1945, it places the focus on the philosopher’s attitude toward death and the significance of his life. Indeed, Stevens’ meditation on the old philosopher’s achievement even at the end of his secluded life served well to the poet in his seventies as an invaluable opportunity to look back on his own life both as a man and as a poet. However, Stevens’ sympathetic reflections on Santayana’s life and work are rendered with his peculiar complex rhetoric and presented in his apparently obscure atmosphere produced by the repetitions and variations of abstract words and phrases. The aim of this paper is to uncover the depth and the wealth of Stevens’ moving reflections in the poem by paying attention to some essential intertexts and examining its thematic and structural aspects.

T. S. 엘리엇과 로버트 로월의 역사인식

이홍필 ( Hong Pil Lee )
11,800
초록보기
The human condition, defined by Karl Mannheim, is that human beings cannot think or live without their history and society into which they are born: Seinsgebudenheit des Gedenks. It is taken for granted that poets are also confined into such a human condition. T. S. Eliot and Robert Lowell are deeply concerned with history. But their attitudes toward history are far different from each other. T. S. Eliot expressed a quite negative view of western history in his early poetry. After his conversion, T. S. Eliot’s view of history became optimistic. He finds that history will progress; the future will be better. His fusion of different zeitheits shows that he strongly believed in the existence of the world after death. That is to say, his concept of history and time is not linear, but circular. Unlike that of T. S. Eliot, Lowell’s view of history is consistent: history is not progressive at all; more or less, it has grown worse. The evaluation of his ancestors is caustic and rigid. He even underestimates their contribution to the foundation of American civilization and culture. The two poets were almost contemporaries, and their recognition of the age was almost the same at the start of their careers. But their recognition of history developed in different directions, which, I believe, result from their distinctive attitudes toward Christianity.

셰이머스 히니의 시에 나타난 양가적 입장

정옥희 ( Ok Hee Jeong )
6,100
초록보기
Seamus Heaney was born in Mossbawn whose name represents double origins, both of Irish and Scottish, signifying the poet’s lifelong dilemma as an Irish man living under the influence of England. He confesses himself as being born and living in an in-between world. He often puts contrary or incongruent elements within a poem. In his mind the sea of imagination seems to coexist with the land of strifes. He desires constantly to lead a domestic calm life or indulge in an imaginative ideal poetry writing, but the outside turmoil of the present world and his memories of the unquiet past interrupt his peaceful mind. In many of his poems he expresses this ambivalent situation and his ambiguous stance towards different and sometimes conflicting ideas. His indulgence in creativity observing objects of nature becomes smudged with past memories, oftentimes painful. The contrary elements become crucial in the development of Heaney’s poetry and they turn out to be an essential element of Heaney’s poetics.
6,600
초록보기
The Irish woman poet, Eavan Boland (1944~ ), creates a new poetic space to include herstories which have been silenced by the male-centered Irish literary tradition. Estranged from the Irish patriarchal nationalism and gender politics, she tries to establish the poetic space that can embrace her marginalized status as an “exile.” Examining her poems from The Journey (1987) to Domestic Violence (2007), this thesis traces the shifts in Boland`s sense of place. The poet`s changing views on the relationship between her and her place enable her to re-vision the traditional role of the poet. The first part of the paper focuses on Boland`s representation of the domestic home space in the poem “Nocturne” from The Journey (1987), illustrating her efforts to reconstruct her poetic space with her imagination formed through her maternal and domestic experiences. The second part examines poems from Outside History (1990) to Domestic Violence (2007), unfolding how Boland repossesses poetic spaces via common experiences of women`s marginalization. By re-visiting and reconstructing the silenced past of women, Boland opens her poetic space where history and herstory co-exist.
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