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신영어영문학 = The New studies of english language & lit... 12건

  1. [국내논문]   드라이든과 포프의 셰익스피어 비평  

    김종환
    신영어영문학 = The New studies of english language & literature no.22 ,pp. 1 - 18 , 2002 , 1226-9670 ,

    초록

    John Dryden and Alexander Pope have been considered as the representative critics of Shakespeare in the neoclassical period. They praised Shakespeare's representation of nature, however, at the same time, they criticized his faults; they had a balanced critical point of view. In “An Essay of Dramatic Poesy,” published in 1668, Dryden wrote: “[Shakespeare] had the largest and most comprehensive soul. All the images of nature were still present to him, and he drew them not laboriously but luckily.” This is Dryden's praise of Shakespeare as a poet of nature, however, he did not ignore his faults: “He is many times flat, insipid; his comic wit degenerating into clenches, his serious swelling into bombast.” Alexander Pope also criticized Shakespeare's use of degenerating expressions, comic wit, puns, and bombast, but he never forgot to point out his merits. He praised Shakespeare, in the preface of The Works of Shakespeare, Collated and Corrected (1725), saying that “[Shakespeare's] characters are so much Nature herself.” For Pope, the works of other poets were “the reflection of a reflection,” while Shakespeare's works were original and his characters were “as much an Individual as those in Life itself.” The following praise of Pope is one of the most memorable paragraphs dedicated to Shakespeare. “The poetry of Shakespeare was Inspiration indeed: he is not so much an Imitator as an Instrument of Nature.” Dryden, Pope, and Samuel Johnson all praised Shakespeare as the poet of Nature who was original and represented “a faithful mirror” of a real life. Dryden and Pope criticized such defects of Shakespeare as his excessive uses of pun and quibble, vulgar words, bombasts, exaggerate wits, furthermore, they criticized Shakespeare's lack of moral instruction or poetic justice. They were not so much free from neoclassical rules in writing and to teach truths through delights had been the classical ideal since Horace emphasized it. Their criticisms of Shakespeare reflected the taste of the neoclassical period and their views of Shakespeare were limited by the neoclassical principles. Nevertheless, their criteria were not confined within the Aristotelian concept of the three unities, which was the most basic rule for the dramatic criticism in the period. They defended Shakespeare's disregard of the unities of time and place and Shakespeare's tragic-comedies. Pope compared the plays of regular writers to “a neat modern building,” accurately formed, elegant, and glaring, and the irregular plays of Shakespeare to an ancient majestic piece of Gothic architecture, more solemn and more strong than a modern building. This is the praise for Shakespeare's varieties and comprehensions, and it is a just view concerning Shakespeare's originalities represented in his works.

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  2. [국내논문]   버지니아 울프의 『자기만의 방』 - 모더니즘을 통한 페미니즘  

    김희정
    신영어영문학 = The New studies of english language & literature no.22 ,pp. 19 - 40 , 2002 , 1226-9670 ,

    초록

    There have been two tendencies of Woolf studies. One describes Woolf's technical experiments, the other her feminist ideology. This dichotomy in critical reading of her novels and essays is contrary to Woolf's own approach to literary criticism. In A Room of One's Own, Woolf merges her feminism with her modernism when she examines the 'true nature of women' and the 'true nature of fiction'. This merging is accentuated when Woolf outlines a female writing practice which includes interrupting the smooth gliding of sentence after sentence as well as tampering with the expected sequence of the narrative. These technical experiments with sentence and narrative become parts of her search for the true nature of fiction. Woolf creates 'a woman's sentence' as a way of searching for new forms and new meanings to move beyond the limited resources of symbolic language. Virginia Woolf's A Room of One's Own manifests a theory that 'the feminine' disrupts the symbolic structures of language, meaning, and writing. Woolf uses stream-of-consciousness narrative and multiple speakers in this essay to bring 'the feminine' to the light which has been remained for so long as a underwater discourse. In that she conceived a revolution of language by creating 'a woman's sentence', she is very much linked to the French feminists' theories on l'ecriture feminine, which means a practice of writing in the feminie undermining the conventions of Western narrative.

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  3. [국내논문]   “머피의 그림엽서” : 「에우마이오스」 에피소드에 나타난 인종담론  

    변재길
    신영어영문학 = The New studies of english language & literature no.22 ,pp. 41 - 56 , 2002 , 1226-9670 ,

    초록

    Based on cultural studies including nationalism, race and racism, and commodity culture, this essay analyses how metropolitan cultural discourses (including cultural nationalism) permeates through colonial commodity culture, how racism or racial discourse interacts with it in colonial Dublin, and how James Joyce, a migrant metropolitan writer, sees through it, mainly focusing on Murphy's Indian postcard, one of the racialized commodities in “Eumaeus” episode of James Joyce's Ulysses. This article provides an account of the way Joyce's project goes on to construct a postcolonial contra-modernity ultimately overcoming the Irish ambivalence caused by being a colonial subject of Ireland as well as a colonial consumer of metropolitan commodities. This essay, therefore, exclusively deals with racialized images in the commodity culture continually intersecting, modifying, and qualifying in allusive context in the episode for a scrupulous reading of everyday life in colonial Dublin.

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  4. [국내논문]   생태학적 관점에서 본 제임스 딕키의 작품세계  

    윤석임
    신영어영문학 = The New studies of english language & literature no.22 ,pp. 57 - 73 , 2002 , 1226-9670 ,

    초록

    In the last decade literary studies eagerly began to respond to one of the most pressing contemporary issues, the global environmental destruction. Facing the current environmental crisis, nature-oriented literary criticism emerged. 'Nature' has been a matter of interest to the greatest writers of America and England since the nineteenth century. It renews its appeal to the modern artist who wishes to do more than recultivate old western ground. James Dickey seeks beyond the usual boundaries of that tradition in order to bring to it fresh materials with which the artist may reshape and recharge the familiar, thereby investing it with new life. Nature writers from the past and current ecological literary critics have been acutely aware of the intimate and organic relationship between nature and human beings and have realized that human-centered western thoughts are responsible for man's separation and alienation from nature. Such alienation in turn has resulted in current environmental crisis. Therefore, reconciliation between humans and nature should be accomplished. In James Dickey's works, many attempts to restore the intimate relationship between nature and humans are made and his ecological consciousness is well depicted. Dickey cherishes the relationship of the human being to the great natural cycles of birth and death, the seasons, and the generations of animals and of men. He is anxious to find a more harmonious relationship to an environment than the American Indians had.

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    회원님의 원문열람 권한에 따라 열람이 불가능 할 수 있으며 권한이 없는 경우 해당 사이트의 정책에 따라 회원가입 및 유료구매가 필요할 수 있습니다.이동하는 사이트에서의 모든 정보이용은 NDSL과 무관합니다.

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  5. [국내논문]   로버트 블라이 시의 '도약'적 상상력  

    이광운
    신영어영문학 = The New studies of english language & literature no.22 ,pp. 75 - 92 , 2002 , 1226-9670 ,

    초록

    This paper analyzes Robert Bly's poetry as leaping poetry and attempts to reveal some of those characteristics. It is assumed that Bly's leaping poetry presupposes intuition or enlightenment. Many of the journeys toward unconsciousness that the speakers of Bly's poetry experience are meditative and lead those speakers as well as its readers towards an inner transformation. It is also believed that 'deep image', 'wild association', 'Gott-natur', and 'Mother Consciousness' are the phenomena that the poet experiences when the leaping imagination works. Some of the characteristics of Bly's leaping poetry can be summarized as follows: First, an image of the return to the origin, which is suggested as surrealistically, is dominant. The regressive imagination is one of the most important poetic sources of Bly's poetry helping the poet to restore the wholeness of self. Bly's surrealistic image does not distort the reality of things as the other surrealists do. Rather, he attempts to reveal the inner quality of things. Second, its aim is to regain the unified self consciousness by recovering the 'mother consciousness' or 'feminine consciousness'. Third, it is ecological in that Bly's leaping imagery helps to realize the unity between man and nature. In conclusion, Bly's leaping poetry shares many of the oriental elements in that it suggests unified vision. Viewing Bly's poetry as leaping poetry can help solve many of the enigmas of his poetry in general.

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    회원님의 원문열람 권한에 따라 열람이 불가능 할 수 있으며 권한이 없는 경우 해당 사이트의 정책에 따라 회원가입 및 유료구매가 필요할 수 있습니다.이동하는 사이트에서의 모든 정보이용은 NDSL과 무관합니다.

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  6. [국내논문]   환멸의 희극적 수용 - 『트로일러스와 크레시더』(Troilus and Cressida)의 경우  

    이덕수
    신영어영문학 = The New studies of english language & literature no.22 ,pp. 93 - 116 , 2002 , 1226-9670 ,

    초록

    Hamlet and Troilus and Cressida have been known to be written in about 1601, and the basic mechanism of conflicts in both of the two plays is the disillusionment of the ideal values of the 1590s, that is, Renaissance humanism of the new aristocracy. Hamlet is a tragedy, but Troilus and Cressida has been variously classified such as comedy, tragedy, satirical comedy, comical satire, tragical satire, grotesque etc. There can be two kinds of disillusionments, that is, tragic disillusionment and comic disillusionment. The tragic disillusionment originates with the loss of harmonious view on human being and its world. With the tragic disillusionment we loses religious or philosophical ground in explaining raison d'?re. The comic disillusionment comes from the recognition of the limitations of the value or norm in a society. In this sense Hamlet can said to be an embodiment of tragic disillusionment, while Troilus and Cressida an embodiment of comic disillusionment. The action of Troilus and Cressida develops and concludes in the scepticism of all the values in Troy and Greece, that is, in England in 1600s. Troilus's disillusionment on the ideal of love makes him a war-mania. He thinks he falls in love with Cressida, but what he seeks in Cressida proves to be only the satisfaction of his sensual desire through a pimp, Pandarus, while Cressida is not the ideal object of love, but only a sensual and practical woman like Helen. Cressida has no ideal value to keep at the risk of her life. She is only a war trophy just like Helen. Just as the absence of ideal love makes lovers only pleasure-seekers, the absence of ideal value makes war only a massacre. The love of Troilus and Cressida representing the Renaissance humanism of neo-aristocracy proves to be only a pleasure-seekers' game. The rational theory on cosmic and social order of Ulysses fails to support the authority of Agamemnon, while feudal idealism represented by Hector loses its practicality. Thersites exposes the fallacy of Ulysses's rational theory and Pandarus reveals the fallacy of the ideal love. The impracticality of Hector's feudal idealism exposes itself through Hector's inconsistent behaviour. In Troilus and Cressida all the values and ideals reveal their fallacy or limitations. Renaissance is the great transitional era from medieval feudalism to bourgeois rationalism through Renaissance humanism. In Hamlet these values confront each other fatally in a tragic world, while in Troilus and Cressida they confront each other socially in a comic world and reveal their own fallacy and limitations.

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  7. [국내논문]   로버트 프로스트 시에 나타난 어둠의 상징성  

    이영석
    신영어영문학 = The New studies of english language & literature no.22 ,pp. 117 - 142 , 2002 , 1226-9670 ,

    초록

    Robert Frost is known not only a nature poet, but also a philosophical one. The natural objects in Frost's poetry are such common things as trees, birds, woods, and mountain which we can see in every rural village. But in depicting nature, he is different from Wordsworth. While Wordsworth expresses an intense identification with natural forces, Frost sees the barrier separating man and nature. Keenly aware of it, he attempts to pursue the human condition in nature. In this respect, he supplies natural things with special meanings and comes to explain several aspects of human life in nature. The relationship between man and nature is his recurrent theme. In his poems, nature seems frightening and bestial as well as mysterious and indifferent to man. His primary concern is in the truth of nature in that man is a part of nature. The symbol of the blackness in his poems is significant in that it strengthens the theme of his poetry. So this thesis aims to investigate the symbolical meanings of blackness or darkness described in his poetry. The symbols of it in them are such things as a black bird, dark night, sleep, death, and birches with black branches, etc. These express man's limitation, the similarity between man's inner world and nature's external world, and nature's mystery. Ultimately, in order to symbolize the reality of the nature which one can't understand beyond his reason, he uses the symbols of blackness in his poems. First of all, the limitation of man expressed by his black image reflects his ignorance and weakness for which he can't understand nature. Besides, the similarity between man's hate in “Fire and Ice” and nature's storm in “Storm Fear” is consistent with the destructive force of man and nature. Last of all, nature's mystery symbolized by dark images means the ultimate truth of life. Conclusively, the symbolic blackness in his poetry represents man's limitation, the similarity between man's inner world and nature's external world, and nature's mystery.

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  8. [국내논문]   『트로이러스와 크레시다』에 나타난 시간의 메타포  

    이인직
    신영어영문학 = The New studies of english language & literature no.22 ,pp. 143 - 166 , 2002 , 1226-9670 ,

    초록

    Troilus and Cressida is such a satirical play that it has been awarded little attention until the twentieth century. Nowdays it is widely admired and regarded as an unique play in the Shakespearean canon. The purpose of this paper is to examine the time metaphor which contributes so much to an understanding of the overall design of the play. The most remarkable aspect of time which appears in the division theme of this play is that of time as an agent of destroyer in the figure of personification. The personification is one of most obvious and explicit group of time metaphor in the play. The first part of this paper will explore the theme of division which is so central to the play. Shakespeare seems to have separated two integral sides of human nature and set them at war with each other in this play with most diagrammatic system. The Trojans are chivalric and intuitive, believing in infinites of love and honour. The Greeks are realistic and self-centered, believing in the limitations as opposed to the Trojan values of magnanimity. Time is personified friendly in Pandarus' denial of responsibility for the outcome of Troilus's love affair and Hector's prediction of the war. The view of hostile time is most forcefully present in Ulysses's long speech to Achilles. Here time is personified as a host. Night time is personified hostile in the parting scene where Troilus and Cressida are lamenting their first night together. The desturctive effects of time are caused by 'oblivion monster' which Ulysses uses associated with time's faculty of ingratitude.

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  9. [국내논문]   딜런 토마스의 시, 「사랑의 부빔이 나를 간질인다면」 시적 언어분석  

    장영규
    신영어영문학 = The New studies of english language & literature no.22 ,pp. 167 - 189 , 2002 , 1226-9670 ,

    초록

    Thomas wrote “If I Were Tickled by the Rub of Love” according to exact and carefully planned method. It is evident that he expresses sex with his own unique view point, which has been one of the universal and fundamental concerns to mankind, including birth and growth, life and death. Thomas attempts to express his own idea about oneness of all and tries to correspond the form meaning that he used a lot of monosyllable words in this poem. Besides, there are some characteristics in Thomas's poetry - the relations between sound and meaning, paradox, rhythm and repetition and etc. Ackerman said that such characteristics in Thomas's poetry would be due to the Celtic or Welsh literature. He extended his idea that sex could be raised upon to the level of God. In this respect, it was not sex but sexuality that he wanted to express in this poem. He insisted on his idea, in this poem, that sex is ultimate thing to him, while it is dreadful to him, because it brought in death to him. so he but it is desirable and could be extended throughout this universe. Furthermore, he expressed that man could be equal to Christ, so the death of Christ is to be thought of that of man or both could be discussed on the same level.

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  10. [국내논문]   헨리 제임스의 『신성한 샘물』에 나타난 심미주의자  

    조흥근
    신영어영문학 = The New studies of english language & literature no.22 ,pp. 191 - 212 , 2002 , 1226-9670 ,

    초록

    This paper has a purpose to analyze the anonymous first person narrator in The Sacred Fount as an aesthete. James's criticism of aestheticism goes back to his earlier novel Roderick Hudson and keeps flowing through The Portrait of a Lady, The Tragic Muse, The Spoils of Poynton up to this work and The Golden Bowl. In this sense his creative process is that of his response to the contemporary social atmosphere. In this work James criticizes a fin-de si?le cultural phenomenon which is represented as Newmarch, a country house in the suburbs of London. The world of Newmarch is similar to that of Matcham in The Golden Bowl, both of which lost the traditional virtues of a country house. At the core of this fin-de-si?le reality stands the narrator, whose role in this world is to detect and analyze human relationships scientifically. His key words in his role as a psychological detective are “scientific method” and “scientific law.” But his “scientific” search for the “fine symmetry” turns out to be a kind of mask for his superficial relationships with other people in Newmarch. Absorbed in his own “scientific method” and artistic whole, he knows nothing of others' pains and sorrows. As Oscar Wilde escaped from the 'routine world' of reality and felt at home in his own world of artistic whole, so the narrator in this work escapes into his “kingdom of thought” built upon his “scientific method,” which turns out to be “a house of cards” at the end of the novel. Therefore, his attitude toward life is similar to that of the aesthetes James himself deals with in his critical writings. He lacks “morality,” or “moral beauty” in James's terms, for he doesn't have deep interests in life itself but in his superficial “scientific law.”

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