글로버메뉴 바로가기 본문 바로가기 하단메뉴 바로가기

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 : 6권 0호 (2001)

뢰트케 시와 작은 생명체들

강방영(Bang Young Kang)
6,900
키워드보기
초록보기
Thedore Roethke`s poems start with his belief that the sources of our being can be found in nature. He thinks we should recover them through nature. His childhood background and hometown environment seem to have had a great effect on his works. His father, a florist, and his experience around the family greenhouse had important meaning throughout his life. He sees all living things as holy. The most minimal thins in nature can give him a profound feeling of joy. To Roethke, true meaning of being can be found only in exposing oneself naked to the mysterious quality of the life force. And he takes these lessons from the small living things as they approach their lives with innocence. When his life seems meaningless and he suffers from mental disease and fear of losing his job, he travels back to the natural world through association with the past days. The past world of plants and small animals once again come to life and gives true joy of being. When they light his dark and desolate situation, he then can accept the dark side of life, even death as a part of nature`s fertility. Accepting the forces of nature, he participates in the universal life. In his late poems he examines human civilization, placing it in juxtaposition with the natural world of small living things. The world of nature is older and wider than human civilization, it is beyond human value and human time. This paper examines 13 poems dealing with small living things throughout his collections of poems. From minimal beings to flowers and animals, all come into these poems including beetles, newts, fishes, lice, squirmers in bogs, bacterial creepers, snails, birds, worms, roses, cyclamen, lilies, leaves, fens, small breathers, grasses, bees, herons, crabs, flickers, hen, dove, otter, minnow, tendrils, lizard, mouse, geranium, cicadas, towhee...These are Roethke`s lovely diminutives. By studying them and their lives, the poet learns how to recover his original self. With love for these small living things, he senses the absolute life and the absurdity of fearing death.

언 = 어 = 시 = 인들의 " 시이론과 이론시 "

김양순(Yang Soon Kim)
6,500
키워드보기
초록보기
The purpose of this study is to explore the significance of an "oppositional" literary practice known as L=A=N=G=U=A=G=E Poetry, and to demonstrate the social and political value of its project. Although the Language poets have dissenting voices among themselves, they can be loosely grouped under their tendencies-a restoration of "the reader as a co-producer of the text" and an emphasis on "the materiality of the signifier," and the dissolution of theory into poetic practice and vice versa. The relation of poetry and theory seems to be one of the crucial issues now in understanding how poets` theory has come to confront the expanding crisis of poetry. Language writing seems to offer hope for breaking down the impasse between poetry and theory that has led to the marginalization of poetry within the academy. The notion of a theoretical poetry unsettles all of our expectations about poetry, raising troubling questions about the status of the individual poem. Thus my focus will be that seemingly hermetic language of Langrage poetry, growing out of a critique of referentiality and "the narrowness and provincialism of mainstream literary norms" contributes to the pluralization and decentralization of American poetry, not only in an aesthetic nature but also in a political one. Furthermore, it provides us with alternative literary histories, alternative ways of reading, and alternative conceptions of poetry. In conclusion, to know this diverse body of Language writing (poetheory and theorypo) is to enlarge our sense of what poetry is and what poetry can be, as well as our understanding of the present.

윌리암즈 시에 나타난 객관성의 시학

박현수(Hyun Soo Park)
7,200
키워드보기
초록보기
Williams` poetry at the time of American literary revolution has been well known as a leading lamp for modern poetic formation with objectivism. At the 1920`s, William Carlos Williams, Louis Zukofsky, and a number of young poets gathered under the name of objectivism to lay stepping stones for the new horizon of modern poetry. Williams wrote many of his poems spontaneously, but he also liked to keep normal patterns of poetic theory. He thought that the artist should have aesthetic principles so that he could understand how to organize a satisfactory poem. Though he remained true to the basic principles of imagism throughout his career, Williams grew dissatisfied with the limitations of the movement even at its early stage. To find out truth among the local material around him everyday, his poetry at early period of his literary career went beyond the tenet of imagism. It was not until his middle age that he adopted a new poetic theory to activate his new poetic practices. When Zulpfsky explained his principles of objectivism, based upon poems of his contemporaries, he would make the most of Williams. It signifies that those principles are still useful to understand Williams` poetic diction. Reading his poems; "Young Sycamore", "An Early Martyr," "The Yachts," "The Source", and "The Sun," it has been finally recognized that all the themes are related with things around him. Thus his poetic techniques definitely evolved to provide a picture image for every common reader. It is due to his theoretical aptitude that he denied all the possible exposition of his idea or suggestion in the text of his poetry.

데릭 월콧 ( Derek Walcott ) 의 회화적 시학 연구

이영철(Young Chul Lee)
7,100
키워드보기
초록보기
This essay is to study the painterly traits in Derek Walcott`s poetry. Walcott uses painting as much as possible as part of the poem`s technique to nourish his poetry in terms of image-making, visual image, as well as sense of line and composition. Thus, every view in his poetry is composed and colored and framed as in painting. The indispensable connection between painting and poetry was formed based on his simultaneous career as a poet and painter in his youth. The young Walcott ranged over the painting masters and their paintings from Renaissance to Post-impressionism. More specifically, he learned many of the painterly images and the references to famous paintings from Renaissance masters, such as Michelangelo, Leonardo da Vinci, Giotto, and the highly pure colors from Cezanne`s south-European landscape paintings and Gauguin`s primitive nature which he felt have some sort of resemblance to oranges and greens and browns of the dry season in St. Lucia. Meanwhile, the Renaissance masters and Post-impressionists are keen observers of nature and put great emphasis on the exactness/accuracy of description. Just as the Renaissance masters turned their backs on their contemporary painter, Botticelli`s mystique, the Post-impressionists were opposed to the pointillists` divisionism which used tiny dabs of color. This tendency of the two periods` masters is always found throughout Walcott`s poetry. In other words, Walcott is a keen observer of nature and a painter-poet who puts emphasis on the exactness/accuracy of description as did his predecessors.

감춰진 저항 - 폴 멀둔의 초기시

이홍필(Hong Pil Lee)
한국현대영미시학회|현대영미시연구  6권 0호, 2001 pp. 125-142 ( 총 18 pages)
5,800
키워드보기
초록보기
From his early career, Paul Muldoon has been recognized as one of the most distinguished poets in the English-speaking world. What has brought him to this early recognition? Muldoon`s poetry is successful particularly in its implicitness as well as allegorical suggestiveness, which not only creates difficulty but gives rise to many different interpretations. In reading his early poetry, I will put a special focus on elements of resistance toward the religious/political conflicts of Northern Ireland in his poetry. Paul Muldoon was born into a Catholic family of Northern Ireland and educated in Northern Ireland where unrelenting fiction between Catholics and Protestants has not yet been extinguished. He himself witnessed the Troubles in 1969 at the age of eighteen. He once confessed that he is not indifferent to the Northern Ireland problem. He never deals with it explicitly; nevertheless, we find his lowered anger scattered in his poetry. This essay will examine how Muldoon reacts to the Northern Ireland conflict in his early poetry.

영문 논문 : 에즈라 파운드의 모순적인 시적 자아

김준환(Joon Hwan Kim)
한국현대영미시학회|현대영미시연구  6권 0호, 2001 pp. 171-210 ( 총 40 pages)
8,000
키워드보기
초록보기
본 논문은 에즈라 파운드(Ezra Pound : 1885~1972)의 산문, 초기 시 두 편, 그리고 『캔토스』에 나타난 시적 자아의 갈등 양상을 밝혀보려는 것이다. 파운드의 시적 자아에 대한 기존의 해석은 한편으로는 본격 모더니즘의 "비개성론"을 통해 "보이지 않는" 파운드만을 강조하였고, 다른 한편으로는 무솔리니의 파시즘과 연루된 전기적 사실을 통해 너무 명확하게 "보이는" 파운드만을 강조하였다. 전자의 해석은 파운드에게서 지속적으로 나타나는, "상실한 근원"에 대한 유럽중심적 자아를 설명하지 못했고, 후자의 해석은 파운드의 "이미지"(Image) "소용돌이"(Vortex) 및 "표의문자"(Ideogram)로 쓰여진 시에 나타난 탈-유럽적 자아를 설명할 수가 없었다. 본 논문은 이 두 가지 서로 다른 해석이 나타날 수 밖에 없는 이유가 시적 자아의 설정에 관한 파운드 자신의 모순적인 태도에 있다고 본다. 파운드는 부분을 전체 속에 넣어 거대담론을 구축하려는 욕망을 지는 단테(Dante)적 자아와 부분을 전체 속에 편입시키지 않고 그 자체의 특성을 유지하도록 만들려는 욕망을 지닌 비용(Villion)적 자아 사이에서 끊임없이 갈등하는 양상을 보인다. 전자는 상실된 유럽 문명의 "근원"을 복원하기 위해 『캔토스』에 끊임없이 "상실"에서 "복원"으로 혹은 "어둠"에서 "빛"으로 향하는 계몽주의적 거대담론을 구축하려는 반면 후자는 다양한 문화소들이 인과론에 기초한 그 거대담론에 편입되지 않고 개별적 특성(virtu`)을 지니도록 하는 "신화 형성적"(mythopoeic) 방식을 구성하고 있다. 이 두 가지의 시적 자아(the I)가 서로 충돌을 일으키는 곳이 바로 "파운드"이다.

영문 논문 : 자아이식의 예술과 안으로 향하기 / 20 세기를 맞은 애가의 운명

홍경주(Kyong Joo Hong)
한국현대영미시학회|현대영미시연구  6권 0호, 2001 pp. 143-169 ( 총 27 pages)
6,700
키워드보기
초록보기
고전적인 의미에서 애가(the elegy)는 그 발생 초기부터 장례식이나 가을 파종시에 행해지는 예식의 일부로서 시작되었고, 20세기에 이르기까지 목가(the pastoral)와 서로 떨어질 수 없는 불가분의 관계를 갖고 있었다. 이런 점에서 볼 때, 전통적인 애가와 20세기 애가 사이의 가장 두드러진 차이점은 이 둘이 목가와 맺고 있는 관계적인 측면에 놓여 있다. 즉 전통적인 애가는 목가에 의존하고 있는 반면에, 20세기 애가는 목가를 금하고 있다는 데 그 차이가 있다. 비록 우리가 애가와 목가 사이의 이러한 분리가 구체적으로 언제 어떻게 일어났는가를 꼬집어 말할 수는 없다 하더라도, 애가에서 목가적인 요소의 부재가 의미하는 바는 분명하다. 이러한 부재는 해야 할 아무런 구체적인 "일들"이 없어지게 되었다는 것을 의미하는데, 달리 표현하자면, 치유과정으로 변환될 수 있는 아무런 예식행위들이 존재하지 않게 된다는 것이다. 그리고 비애가 이제는 내면화 되어진다는 것을 의미한다. 또한 자의식이 증진되어지고, 자연환경으로부터 오는 영원불멸에 대한 어떠한 증언도, 자연 환경으로부터 오는 어떠한 위로도 이제 더 이상 존재하지 않는다는 것을 의미한다. 잇따르는 이러한 문제점들과 함께, 목가적인 요소들의 부재는 20세기 애가 내에서 최소한 두 개의 다른 특징들을 동반하고 있는 듯 하다. 첫째로 애가 시인의 풍자적인 제스처를 들 수 있는데, 이 제스처는 애가의 형식상의 요소들과, 죽은 자들, 그리고 애가 시인 자신을 구체적으로 지향하고 있다. 둘째로 위로 받는 일에 대한 애가 시인의 거부감을 들 수 있다. 심지어 위로가 주어지는 몇몇 드문 상황하에서도, 더 이상 영혼불멸에 대한 그리고 변화 속의 보존에 대한 자연의 약속으로부터 위로가 오지 않는다. 이러한 풍자적인 요소와 위로에 대한 거절은 애가 시인의 예술을 항상 괴롭혀왔던 자의식적인 요소들을 강화시키는데, 이로 인해, 애가 시인의 작품은 종종 자신이 구현한 것과 자기와의 관계를 보여주는 하나의 표상이 되고 만다. 20세기 애가는 목가적인 요소들과 결합되어 있는 애가의 전통으로부터 벗어남으로써, 일종의 자의식의 예술이 되어버렸고, 점점 더 애가 시인 자신이 하고자 하는 말들을 통해 통과 예식을 수행할 수 없는 자신의 무능력에 대한 애도에 크게 집착하게 되었다.
1