글로버메뉴 바로가기 본문 바로가기 하단메뉴 바로가기

논문검색은 역시 페이퍼서치


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 :
수록 범위 : 8권 2호 (2002)

매리안 무어(Marianne Moore)시의 명징성과 모호성

김명옥 ( Myong Ok Kim )
As one of the modern poets, Marianne Moore writes her poems with the technical uniqueness such as the chopped lines, isosyllabification and the use of quotations. She, however, has some differentiation from other modern poets in that she enjoys expressing her personal likings in her poems while most modern poets of the 1920s prefer impersonal form and materials. Her deep interest in science and biology is reflected upon her techniques and choice of materials. In her poems she describes the objects, especially the natural animals in "relentless accuracy" and clear precision with avoiding the "opaque allusion" and much intellectual obscurity commonly enjoyed by the modern poets. She wants to be a "literalist of imagination" and likes to choose the "imaginary gardens with real toads in them" upon which poetic theory she likes to look straight at "the thing itself" with the attitude of the scientist. In spite of precision of her style, many poems are not easy to comprehend. It is chiefly because Moore looks into the things with observing the objects but leaves out something unknown about the hidden mystery of existence, which makes readers bewildered and grope about what is absent in the poems. Such obscurity is derived from Moore`s honesty and religious humility not to dare to look beyond the observable reality, only humbly admitting the limitation of man`s views on the hidden identity of the living creatures, which, as she mentions in her essay, is the originality of Moore`s poems.

제프리 힐의 『테니브레이』 ; 유혹적인 음악에서 모호한 시로

김양순 ( Yang Soon Kim )
Tenebrae seems to be Geoffrey Hill`s most purely beautiful writing in a return to traditional, rhymed forms, especially the sonnet. For that very reason some critics see Tenebrae as "disappointing" and "Hill`s least successful volume." They find the poems of Tenebrae too burnished, too finished, too relaxed in their form, where the earlier poetry exploits "crises" of meaning and syntax to expose the duplicities of language. To sum up, the negative responses to this volume stress such qualities as formality, artifice, obliquity, and above all, a sense of "distance." One more quality to those is Tenebrae`s musical and ritual element. Hill himself is tempted by music, and his inspiration often comes from music. Then music is central especially in Tenebrae. The ritualistic qualities of the first two sequences, "The Pentecost Castle" and "Lachrimae or Seven tears figured in seven passionate Pavans" seem to place the poems at a certain cultural and emotional remove. On the other hand, "An Apology for the Revival of Christian Architecture in England" is dense with the particulars of specific historical moments. Also, "A Pre-Raphaelite Notebook," "Terribilis Est Locus Iste," "Christmas Tree," and "Tenebrae" reveal that Hill may be unwilling to settle into a harmony that is purely formal, aesthetic and secular. It is hard to determine how both his passion for music and his suspicion of it in verbal art work together. Thus this study will pursue Hill`s seemingly contradictory attitudes towards music, and Tenebrae`s movement from the tempting music down to the ambiguous poetry. The poems of Tenebrae, from "The Pentecost Castle" to the "Tenebrae" sequence, chart the history of humanity`s struggle to overcome the darkness of Christ`s absence with the possibilities of language.

거식증적 육체의 전복적인 힘 ; 에밀리 딕킨슨의 " 굶주림"에 관한 시를 중심으로

박주영 ( Joo Young Park )
Throughout her poems on hunger, Emily Dickinson describes an anorexic body to show the female speaker`s rebellion against the patriarchal authority. Dickinson`s depictions of the female speaker`s `hunger`, and `self-starvation` signify the enormous inner power of female body; the threatening voice of the anorecxic body mocks at the patriarchal concept of femininity in America of the nineteenth century. Describing the renunciation of bodily pleasure through hunger, Dickinson explores the power of renunciation; in her poetry, the speaker enjoys the pleasure of deprivation, rather than lamenting her privation. Dickinson`s speaker responds to a deprivation imposed by herself; the pain of self-deprivation is justified by moments of infinite joy. Further, the speaker`s experience of deprivation reflects her attempt to maintain self-sustenance. Dickinson stresses that the anorexic self-destructive relation to the body is not simply negative, since it signifies the rejuvenation of some of unrepresented experience and desires. More significantly, for the speaker, phobias about food that enable the self to order its experience represent the vital force for life-enchancing power. Dickinson emphasizes that the denial of desire for food gives the power of sustaining over the starvation. The anorexic speaker`s self-starvation could be understood as an active resistance of patriarchal expectation. Viewed from the patriarchal notion of feminine anorexia, the anorexic body is supposed to remain mute and submissive, symbolizing the feminine ideal of slim body in patriarchy. However, Dickinson describes that the speaker`s self-denial of desire and its denial. In so doing, Dickinson`s anorexic body appears threatening to the patriarchy, since this body of feminine privation represents the body of feminine abundance, filled with inexhaustible pleasure.

실비아 플라스의 후기시에 나타난 자아 회복의 열망

이현숙 ( Hyun Sook Lee )
Sylvia Plath`s poems treating her relationship with her husband start from her own painful experience with him : her own sense of crisis due to his betrayal. In most of them the suffering female self reinterprets her own standing and reaches a deep self-awareness. Plath is engaged in demonstrating the way the mind deals with extreme circumstances to which it responds with excessive sensitivity. The aim of this paper is to demonstrate and examine a female self that struggles to achieve her independent and free state and searches for her integrity. Plath`s married life in despair and plight and her endeavor to recover the dignified self in spite of the fear and pain of isolation are dealt with in many of her later poems. In contrast to her earlier ones, such poems as "Purdah," "Fever 103˚," and "Stings," depict the speaker`s destruction of her male oppressor and the corresponding recovery of her true self. These poems are charge with high energy to liberate the repressed self performing the triumphal flight over "the mausoleum" of her heart. They evince the movement of a female self from victimization through retaliation toward transformation.

월러스 스티븐스의 역창조와 시적 실재

정성연 ( Sung Yon Chung )
한국현대영미시학회|현대영미시연구  8권 2호, 2002 pp. 111-141 ( 총 31 pages)
This paper studies on the idea of decreation and poetic reality presented in the poetry of Wallace Stevens`. Denying God as an absolute truth, Stevens thinks human beings create an idea of God. His idea of God is the idea of supreme fiction which is a poetry, a work of imagination by a poet. Being created within the poet`s deepest imagination, the supreme fiction is taken as a poetic truth. This process from the created to uncreated is the process of "decreation." Decreation plays an important role in Steven`s poetic theory. Up to the present, only a handful of critics--J. Hillis Miller and B. J. Leggett-- commented on the issue. Even Miller and Leggett consider it in terms of abstraction that is quite different from Stevens` idea of decreation. This paper conforms to the notion of decreation as proclaimed by Stevens himself, and details Stevens` theory including the process of decreation. The paper employs textual analysis to explain the steps toward the making of supreme fiction as well as decreation. To sum it up, the steps toward supreme fiction are "abstraction" and "change." Abstraction is the act of mind, in which the poet accepts things as they are. And then, he/she transforms the abstracted reality through intensified imagination into a new reality. This new reality is a poetic reality and becomes a truth--a poetic truth through decreation. This poetic truth is not absolute, fixed, and final, but changeable, challengeable, and relative.

테드 휴즈 동물시의 일면

조동현 ( Dong Hyun Cho )
한국현대영미시학회|현대영미시연구  8권 2호, 2002 pp. 143-160 ( 총 18 pages)
Ted Hughes was born at Mytholmroyd town whose wild moorland strongly influenced his imagination. He often went into the countryside for exploring and fishing. It gave him the opportunities of observing animals. As a result, the evocation of nature and especially of animals is vivid in his early poems. If we look a little more closely at these poems, we see that majority of the so-called animals are metaphorical. Even those poems which are about animals are usually also about human experiences. In this paper, I wish to examine the imagery and the voice or tone of the animal poems of Ted Hughes. Violence is a central theme in Hughes` poetry. Many of the animals in his poems are predatory. It is not the simple instincts of animals that attract him, but their ferocity and power. His concern with violence and suffering comes from the fact. In "Hawk Roosting", the hawk believes that trees, air, sun and earth are there for his convenience and that all other creatures exist only as potential prey. Hughes admires the hawk and offers it to us for our admiration. Hughes is searching for a way of reconciling human vision with the power of the nonhuman cosmos. At first his main concern is to identify these energies and describe them, not only in human terms but in their own. And the discrepancy between these two descriptions gives the most powerful of his animal poems, for example, the hawk poems and "Pike," their characteristic tension. He is also concerned to discover whether negotiations are possible between man and Nature, that is, between man and his Creator.

" 과정"의 시학으로 『패터슨』 다시 읽기

홍은택 ( Eun Taek Hong )
한국현대영미시학회|현대영미시연구  8권 2호, 2002 pp. 161-179 ( 총 19 pages)
One of the main themes in William Carlos Williams`s poetry is to pursue a fresh life-force which makes all things moving alive, and the natural stream of its energy. Williams was in pursuit of penetrating all obstacles and communicating with each other truly through inter-penetration. With this theme he produced the poetics of `process`. In the thematic aspect, the poetics of process seeks after the energy of life which refuses the typical completion and comes back to the beginning continuously, and in the formal aspect, open form or open text which includes the dispersal of various genres and of fragmental materials. This paper looks upon Williams` poetic characteristics as the poetics of process and in this respect tries to reread his long poem, Paterson. It probes especially the themes on dispersal, metamorphosis, and recurrence to the beginning among several themes which can prove the poetics of process. And it focuses on the structure of the poem and the method which deal with fragments with various genres.

2002년도 학회활동