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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 : 22권 1호 (2016)

존재의 통합: W. B. 예이츠 후기 시와 조각 예술

김주성 ( Jooseong Kim )
6,900
초록보기
William Butler Yeats’s later poems are more significant than generallyappreciated in that they involve two different forms of art, sculpture andpoetry. Sculpture, in particular, attracted Yeats the most because he felt itrepresented the universal Self integrated in the Great Memory as well as theAnima Mundi. Having Michael Angelo’s Leda statues in mind, he exploreda creative way to carve the muscular beauty and the passionate spirit of theIrish people in his poetry. Speculating on the unity of Being in tandem withthe unity of a sculpture’s formative power and a poet’s imaginative power,Yeats could finally overcome the signs of his bodily decrepitude andsublimate his anxiousness into a creative driving force to remake his self inthe universal Self of Ireland

그림자 유희: 조셉 브로드스키의 W. H. 오든 읽기

박연성 ( Yeonseong Park )
6,300
초록보기
“A Shadow Play: Joseph Brodsky’s Reading of W. H. Auden” aims toclarify Auden’s influence on Brodsky’s poetic works. Brodsky’s first reading ofAuden’s “In Memory of W. B. Yeats” ignited a turning point of his poeticcareer because Auden’s words “Time worships language” struck him like anepiphany and revelation. From that time on Brodsky assimilated Auden’spoems and adapted them into his poems.“Verses on the Death of T. S. Eliot,” “The Hawk’s Cry in Autumn,” and“Daedalus in Sicily” were written in imitation of Auden’s motif, poetic formsand metaphysical style. As time passed, however, Brodsky also developed ananxiety with regard to Auden’s influence, but that anxiety lasted for a shorttime in comparison with the dedication he showed to his precursorthroughout his literary career. Brodsky’s poems, then, might be read as ashadow play, in which his love of Auden could be echoed beneath thesuperb language invention

“닫힘의 거부”: 린 헤지니언의 경계를 가로지르는 시 쓰기

박주영 ( Jooyoung Park )
7,300
초록보기
This paper examines how Lyn Hejinian’s My Life embodies a radicalexperiment with the subjective uncertainty of autobiography, indicating theperceptive response to her essay, “The Rejection of Closure.” As an “opentext” of poetic autobiography, My Life surpasses the limits of conventionalrepresentation through fragmentations, gaps, semantic shifts, and ellipticalsentences. Throughout My Life, the reader cannot expect any consistency ora coherent lyric subject, as that subject changes incessantly from the past tothe present. Revealing a strong longing for the closure of perfectcommunication, Hejinian’s autobiographical intimacy, indeed, is signified asquixotically untenable. Arguing that My Life challenges the problems ofrepresentation and expands beyond the limits of “actual representations,” thispaper describes how Hejinian crosses the boundary between poetry and prose.Ultimately, it suggests that Hejinian’s autobiography invites the reader tointerrogate the language as a pure medium for reflection

실비아 플라스의 [불온한 뮤즈들]에 나타난 여성 형이상학 비판

윤효녕 ( Hyonyung Yoon )
6,900
초록보기
The aim of this paper is to clarify Sylvia Plath’s theme of criticizingfemale metaphysics functioning as a mechanism of oppression, by analyzingher poem “The Disquieting Muses.” Extant feminist Plath studies, in linewith the theories of deconstruction and feminism in general, are based onthe dichotomy of male-oppressors vs. female-victims. But Plath’s poeticinsight undermines this polarized gender perspective, exposing and accusingmetaphysics and oppression sustained and practiced by woman.The focus of analysis is on the speaker of the poem denouncing Christianmetaphysics and resisting the mother’s “phallic” desire to identify herdaughter’s life with, and incorporate it into, her own. Theories of JacquesDerrida’s deconstruction and Luce Irigaray’s feminism are applied to theanalysis. In the end, this paper illuminates Plath’s dream of the desirablefeminine life characterized by an anti-metaphysical aestheticism of enjoyingthe material and bodily sensations of earthly life.

월트 휘트먼의 자연관: 초기 여행 시를 중심으로

정옥희 ( Okhee Jeong )
6,800
초록보기
This paper tries to illuminate certain aspects of Walt Whitman’s views onnature. While most writers have an inclination to focus on specific places intheir writings of nature, Whitman appears so universal that natural objects inhis depictions may be presented in any setting or against any background.Yet, starting from his hometown Long Island and New York areas, and thenstretching towards the North American continent as well as the world ingeneral, Whitman travels and exhibits his vast knowledge and understandingof their inhabitants as well as specific natural objects. That is his democraticvision, in which each natural object shares the same spirituality with othernatural objects. This paper, therefore, unravels Whitman’s pantheistictreatment of various places and natural objects and suggests how thattreatment develops into a democratic pantheism.

앨런 긴즈버그의 생태적 상상력: 「해바라기 경전」을 중심으로

정은귀 ( Eun-gwi Chung )
7,300
초록보기
As a representative poet of the Beat Generation, Allen Ginsberg hasgarnered much critical interests in the history of American poetry, but criticalattention was usually given to “Howl,” one of the most influential literaryworks of the 20th century, or “Kaddish,” a touching elegy for his mother.Throughout his career, Ginsberg made reference to the states of Americancivilization, its barren fields smudged with the wastes of the machinery. Thisessay, while revisiting his 1955 poem, “Sunflower Sutra” within the frame ofecological imagination, relates the counter-cultural poetics of Ginsberg toeco-criticism. When it comes to exploring the problems of materializedAmerican civilization, “Sunflower Sutra” vividly draws the psycho-geographyof bleak American society in the 1950s. I argue that an eco-critical readingof Ginsberg’s poems broadens the scope of the Beat Generation’scounterculture, and that Ginsberg’s urban pastoral drawn in a few poemssuccessfully attains his own goal of re-imagining America in a new vision.

로버트 크릴리의 "시 안에서"

최문수 ( Moonsoo Choi )
6,500
초록보기
For Creeley, poetry is a revelation or a record of reality, which is alwaysone’s own reality a person experiences in his primary condition of life. It isin poems that one arrives at the condition, and reality is the specific contenthe experiences moment by moment while he is writing a poem in particularcircumstances. To write a poem, then, means to recognize and follow itsactivities when they occur in the process of writing. In this light, the poet isjust “given to write poems.” He refuses to exert external control over hispoems, a refusal that involves himself in the generalizing mechanism ofrepresentation. Rather, he is in poems, in their activities, thereby directlyexperiencing and recording his literal fact of being. Rhythm is an aspect ofreality as the pattern of the sound-movements of words, which arises fromthe physical and physiological conditions of the poet. Meaning, the otheraspect of poetry, is not semantic meaning but emotion, which can be equatedwith material things as long as it remains in its context. Rhythm isdetermined in part by breath, the physiological condition, which is in turnshaped by emotion.

Emily Dickinson`s Poetic Reading of Greek Mythology

( Jeong U Jang )
6,200
초록보기
Emily Dickinson’s relation to Greek antiquity is an interesting topic in thesense that it shows how she responds to the ancient world. In fact, shemakes direct references to Greek antiquity in 20 of her poems. Her specificreference to Greek mythological characters is much less frequent, but thepoet powerfully advocates selfhood and identity in relation to them. Sheemploys several mythological figures such as Prometheus, Amphitrite,Memnon, Midas, Jason, and Orpheus in her poems. When she refers to eachmythic character, she reinterprets their roles in relation to her poetic world.She doubts, rejects, transforms, and identifies with Greek mythologicalcharacters. She is not so much overshadowed by mythological figures butchallenges them to claim her unmistakable selfhood and identity. In otherwords, she appropriates mythological figures for the purpose of creating herpoetic world. Her emphasis on her own selfhood and authority leads her tocreate her own mythic world. This essay aims to give a clearer picture ofhow Dickinson reads and interprets Greek mythology.
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