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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 : 24권 1호 (2018)

셰이머스 히니의 공간적 상상력: 『산사나무 등』과 『사물 보기』를 중심으로

박미정 ( Mee-jung Park )
This paper examines Seamus Heaney’s spatial imagination in The Haw Lantern and Seeing Things. Place or space in these works is abstract and unrealistic compared with the real or the mythical one in his earlier poems. But it does not necessarily mean the transcendental or idealistic one, because he attains the new perspective by dialectically negating the real place he was attached to. His newly imagined place acts as a self-diagnosing frame of reference by which he defamiliarizes his real place or his own self so that he can see them from a distance. In this way he redistributes or reterritorializes, through his imagined place in his writing, the real place of Northern Ireland in which powers and violence are embedded. Moreover, Heaney tries to break down the division of the real and the imagined by which he seeks for a new perspective on solving the political problems of Northern Ireland.

샤론 올즈, 가족, 가족 로망스

박주영 ( Jooyoung Park )
This paper explores how Sharon Olds’ poetry reconstructs a Freudian family romance, deconstructing the idealized image of ‘good father (good parent).’ Olds deliberately portrays a dysfunctional family dominated by a father whose abuse of power the poetic speaker responds to both as a child and an adult. Olds does not offer any American ideal of ‘home sweet home’ vision in her poetry. Olds’ poems focus on describing how the father damages the family structure and others suffer from his brutal presence. For example, in “That Year,” Olds tends to place family experience within a specific historical context; the loathing for the father depicted as Fascist and Nazi hints to the reader how the paternal figure causes the genuine anguish and pain to the family members. Furthermore, Olds examines an unsettling situation of the speaker being unsure what to do with reconciliation when the offending and abusive parent relinquishes authority and considers a sincere apology. In particular, The Father mines the rapprochement of the family through moving from the terminal stage of the father’s struggle with throat cancer to the process of mourning over his death. The final poem of The Father, “My Father Speaks to Me from the Dead,” demonstrates the speaker’s quest for affection from the father, which is impossible to achieve as long as he is alive. Whereas the speaker’s sympathy sometimes expands to the past and the dying father, Olds’ poem shows that the reconciliation with the parent cannot be neatly resolved. Entangled with the daughter-parent relationship under the boundary of the family, Olds’ speaker seriously questions how the romantic ideal of the family myth can be fulfilled in reality.

월러스 스티븐스의 시작(詩作): 왜 “필요한 천사”인가?

정옥희 ( Okhee Jeong )
There have been many critical considerations of the correlation between reality and imagination in Wallace Stevens’ poetics. This essay suggests that the important thing is not whether the poet has reached a reality through his poetic imagination but why the poet has to emphasize the necessity of poetic imagination through his poems and other writings, especially in his collection of essays titled The Necessary Angel. It examines why poetry writing and the use of analogies through imagination and abstraction were regarded as essential to Stevens by taking examples of his frequent paradoxical statements from his essays and poems. Stevens’ enjoyment of imagination and abstraction could replace his religion, and he felt more inclined to nature than to the religion he had been forced to learn by his mother. Poetry writing was just like his love of broad nature. Though cherishing the power of imagination or abstraction, Stevens warns against fancy which is not based on reality. He also underlines the private recognitions and perceptions that individuals get in specific situations rather than general historical facts. Stevens’ poetic experience becomes unique and imperative in overcoming harsh reality.

찰스 번스틴과 시의 경험

최문수 ( Moonsoo Choi )
For Charles Bernstein, poetry is basically political. He sees that through language a (capitalist) society controls the individual’s experience. Its standardized language use translates our experiences into generalized contents and distributes them like commodities; thereby they lose their concreteness and particularity, only to be incorporated into a preconditioned world(view). In this light, he notes, the political value of poems lies in the concreteness of the experiences they make available. Poems release concrete experiences when their content is their form itself, hence when they are nonrepresentational and self-sufficient. This does not mean that such poems are meaningless. On the contrary, the value of self-sufficient poems resides in the meaningfulness of language itself because language as medium or ‘wordness’ allows them to have iconic meanings. However, those meanings need to be foregrounded, and it is by means of ‘construction’ that they are foreground through its dynamic and generative mechanism. We experience the world through language, and we are absorbed into concrete experiences through a mode of form, neither natural nor personal, as an antiabsorbtive use of language. It is a ‘construction’ as an active process that generates new meanings rather than reproduces meanings, a process by meas of which we experience an actual world made strange and palpable instead of a world in the realm of general and abstract meanings.

21st Century Korean American Poetry The First Decade

( Robert Grotjohn )
The main purposes of this essay are to compile a bibliography of all the book-length collections of English-language Korean American poetry that have been published in the U.S. through 2017, to outline some possible means of categorizing or classifying the books, and to briefly introduce the work of each poet who published his or her first collection in the first decade of the 21st century. In suggesting various possibilities for categorizing these poets, I insist that none of those possibilities are definitive or absolute. From 1972 to 2017, 47 Korean American poets published 84 collections of poetry, 17 in the 20th century, 27 from 2000 to 2009, and 40 from 2010 to 2017. Key suggestions for classification include a poet’s generation in America, gender, themes, content, and aesthetic choices. The fruitful diversity of Korean American poetry reflects the state of American poetry in general. The extent to which the poets use or ignore their Korean heritage is part of that larger diversity but also shows a unique place in the various poetic and intellectual communities to which the writers might belong.
This article discusses W. B. Yeats’s “Politics,” W. H. Auden’s “A Thanksgiving,” and Robert Lowell’s “Epilogue” as a case study of the complex relation between poetry and the political. These poets’ well-known works embody the zeitgeist of political upheavals, but they also disclose a sense of anxiety about the infiltration of the political into their own writing. Given that the poems were written nearly at the end of their lives or careers, it is not far-fetched to speculate that even these masterful poets find it difficult to appraise their own writing in association with political subjects and situations. The discussion about these poems purports to indicate that while poetry and the political can be intertwined, political matters in poetry are worthwhile when they are treated as aesthetic matters.

Korean American Queer Poetics in Willyce Kim’s Eating Artichokes

( Hyo Kyung Woo )
This essay examines the intersection of identities in the poetry of Willyce Kim. As the first Asian lesbian to have her work published in the United States, Kim was born in Hawaii to second-generation Korean American parents. This essay reads Kim as a revolutionary poet whose poetry brings together Asian American, lesbian, and feminist literary traditions throughout her poetry collection Eating Artichokes (1972). By doing so, this essay argues that Kim’s poetic silence on her Asian American identity is a symbol of her racialized queerness. It links her strategic digression from her ethnic identity to the Asian American historical experience of being silenced. Ultimately this essay investigates how Kim’s works embody a multifaceted, politically situated intersectionality that calls into question the facade of the 1970s white middle-class lesbian feminist poetry movement.