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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 : 24권 2호 (2018)

T. S. 엘리엇의 『황무지』 제 1연: 극적 독백의 서술구조

윤효녕 ( Hyonyung Yoon )
6,800
초록보기
The aim of this paper is to claim that the first stanza of T. S. Eliot’s The Waste Land has the narrative structure of the dramatic monologue. To clarify the claim, I first refute the extant views that the stanza is uttered by two speakers, the poet/narrator and Marie. Such views are contradictory to one another as well as not clearly justified by the context of the poem, since they are not reliably founded on the compositions of the text. Instead, they depend on the preconceptions imbued by biographical and historical information about the poet and Countess Marie Larisch. To the contrary, this paper understands the whole stanza as spoken by a single person to an auditor in the same poetic situation. As Robert Langbaum and other explicators unanimously indicate, “some interplay of the speaker and the listener,” among others, is the most unfailing characteristic of the dramatic monologue. My contextual analysis of the stanza points out line 12, spoken in German, and line 17, “In the mountains, there you feel free,” as two decisive evidences of such dramatic interplay taking place. Thus, in the first stanza of The Waste Land, Eliot is not featuring two (or, even, more) speakers but is presenting the single speaker Marie, who relates some fragments of her present and past life and psyche to her specific listener in the form of the dramatic monologue.

에밀리 디킨슨 시의 개성화 과정-분석심리학의 관점에서-

이양숙 ( Yangsook Lee )
7,700
초록보기
This paper aims to investigate the process of the Individuation of Emily Dickinson’s Poetry through Jung’s Analytical Psychology. Amazingly, the developing process of Dickinson’s consciousness is similar to the progress of individuation of Jung’s Psychological theory. They both develop from Ego-recognition to Self-recognition. Dickinson redefines the negative complexities that arise from her environment in a creative way. The process of individuation toward the unity of consciousness and unconsciousness takes the opportunity of change at the point where pain occurs, and achieves the growth of personality by acquiring perfection through a series of processes. Growth is a task that must last a lifetime, and Dickinson’s self-exploration through poetry is a process of individuation that recognizes her own worth and calling and affirms life.

Entering No-Man’s-Land: The Interior of Homines Sacri in David Jones’s In Parenthesis

( Hyonbin Choi )
6,600
초록보기
This paper examines the infantrymen of David Jones’s In Parenthesis to reveal the ambiguous political status of the infantrymen in the First World War and delineate how their interior cultural memories intersect with their political position. As a devout Anglo-Welsh Catholic in the age of atheology, Jones’s record of the First World War that he “saw, felt, & was part of” as an infantryman is replete with allusions to Welsh myths and Christianity. These Christian allusions and heroic metaphors have often led to oversimplifying In Parenthesis as a work that either heroicizes or victimizes the infantrymen. In Parenthesis does emphasize the destruction of humanity on the one hand, but it also reveals a more dialectic relationship between the infantrymen and the war they are participating in. Using Giorgio Agamben’s notion of the homo sacer, the first section of the paper will discuss how the political existence of the infantrymen is suspended as they proceed further and further towards no-man’s-land. Entering the ambivalent no-man’s-land where violence is its only language, the soldiers vacillate dangerously between being an instrument of sovereign power and also its victim. The second section will concentrate on how this political position is yet again in tension with their interior as “rememberers” and “makers” of culture. Against their biopolitical status that suspends them from being neither bare life nor part of the sovereign, the soldiers continue their gratuitous acts, singing and calling upon the presence of each other and the cultural memories that are deeply engraved within them. It is this moment of unease and discrepancy that gives rise to an awakening of a modern self. In Parenthesis weaves together the unsung songs of the modern bards against the nihilistic mechanism of the modern era.
6,600
초록보기
One of the distinctive characteristics of modern poetry is ambiguity, which means something open to multiple interpretations, none of which are determinative. Paradox generating from such indeterminacy is the very essence of the modernists’ objective poetics. Allowing and connecting paradoxical points of view in the name of artistic autonomy, Eliot and the modernist poets aimed to go ‘beyond’ the very paradoxical nature of life in this world. More importantly, artistic autonomy liberates the poet while the poetic meaning vacillates between opposites or contradictions. When Eliot declared the poetics of impersonality in 1917, his objective was to liberate his poetic self. The way Eliot wrought autonomy is by making his work of art paradoxical, with meaning that is hard to determine, being subjected to multiple interpretations. He boldly violated chronological time sequences, spatial normalities, and referential expectations, in his use of linguistic elements such as verbal tenses and personal pronouns. Particularly, the way he applies in practice conventional techniques such as image, symbol, and juxtaposition, was quite unconventional, as exemplified in the two early poems, “Rhapsody on a Windy Night” and “La Figlia Che Piange.” Eliot’s uses of the various techniques are deliberately made unusual in order to effect paradox, with impersonated nonhuman speakers, ungrammatical tenses, and the abrupt juxtapositions of conflicting points of view.

Notes of an Apprentice: Non-Existent Facts―Poetry Reading and Discussion

( Loren Goodman )
7,200
초록보기
This paper documents, in transcript form―with some added commentary, references and reflections―a discussion, poetry reading and question-answer period, moderated by Dan Disney, which took place at the Modern British and American Poetry Society conference held at Yonsei University on October 6, 2018. It unfolds in three sections: in Part I, after introductory remarks by Disney, I discuss my background and development as a poet through apprenticeships with several poetry teachers, most notably Kenneth Koch. The discussion of Koch focuses on his attempts to define poetry, his unique pedagogical methods, orientation and aesthetic sensibility as a member of the New York School, and what it means to be affiliated as an apprentice. Reflections on learning from other mentors and teachers touch upon the following: the distinction between traditional, institutionally defined student-teacher learning and the care, depth and intimacy of master-apprentice dynamics; the importance and various possibilities of appreciating poetry; embracing (and even seeking out) fortuitous mistakes during the composition process; the connections between oral tradition (including personal dialects, personal mythologies and translation) and craft in creative writing; and narrative and stylistic framing devices. Part II consists of the poetry reading―a series of excerpts of prose-poem/aphorisms from Non-Existent Facts (2018), recited in conjunction with visual accompaniment in the form of original collages. Part III includes discussion with Dan Disney, as well as a question-answer period with members of the audience.
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