변형과 균형의 시학 : 에밀리 디킨슨의 글쓰기 전략 연구

서혜련(Hae Ryen Seo) 韓國世界文學比較學會 1997 世界文學比較硏究 Vol.2 No.-

토마스 하디 시의 내적 풍경

서혜련(Seo Hae-Ryen) 신영어영문학회 2000 신영어영문학 Vol.15 No.-

Hardy as one of the spokesmen of what he called “the new dark age” was one of the writers who came under the influence of the new thought and who recognized the immense influence of environment upon man. No writer has excelled Hardy in the power of convincing us that he writes from experience. Hardy’s Wessex as a poetic symbol, seen through the prism of a romantic imagination, provided for Hardy the archetypal forms of human existence. Hardy finds God to be a blind Immanent Will. Immanent Will appears in his works as an artistic motif in a great variety of forms: chance and coincidence, nature, time, women, and convention. The immanent will, because of traits of impersonality, is indifferent to and ignorant of man's fortune and misfortune, good and bad, and virtue and vice. In his many short lyrics, he showed men and women, caught in the tragic irony of circumstance, inflicting cruelty on one another, or pursued by a malign destiny. We all know that Hardy’s attitude towards life is pessimistic and that his works are strongly colored by tragic aspects of fatalism and desperate resignation. But his attitude as a writer can be understood in the context of his assertion that he was a meliorist than a pessimist. He always sticks to pity for the puppets of Destiny and intense reverence for human life. Hardy leaves us courage to face it all and enjoy of it what we can. Further, he lures us to find pleasure in the things of the earth.

의사소통의 총체적 과정으로서 시

서혜련 ( Seo Hae-ryen ) 대한영어영문학회 2001 영어영문학연구 Vol.27 No.2

The aim of this essay is to examine poetry not as a natural result of expression-the garb of thought- but rather as an integral part of a communicative process. The poetic communication requires the interaction of two participants, usually called an author and a reader. Poetry is an interactive mediation even if the reader does not know the author. As long as authors and readers collaborate in their complementary and reciprocal tasks of composing and comprehending, as long as authors write on the premises of readers and readers read on the premises of writers, the result is coherent communication. The poetic text transmits different information to different readers in proportion to each one's comprehension. It behaves as a kind of living organism which has a feedback channel to the reader and thereby instructs him. Also within the text, communication involves a fictional speaker transmitting a poetic message to a fictional listener. Therefore the thoroughgoing analysis of this communication is important and essential for understanding poetry. From this angle every poem can be defined as "the imitation or representation of an utterance," "quasi-quoted discourse," "speech within speech," and "pseudo-dialogues." Thus the poem represents not merely the words of an utterance, but a total act of speech. We respond not only to what the speaker is saying but to how he is saying and, thereby, to what is making him say it: his intentions, emotions, motives and dramatic situation. The speaker's counterpart, the listener is also important because the speaker's attitude, tone, and topic depend on the implied social relationship of the speaker to his listener. < Woosuk University >

루이스 보건(Louise Bogan)의 시학과 「여자들」(“Women”)

서혜련 ( Seo Hae-ryen ) 대한영어영문학회 2004 영어영문학연구 Vol.30 No.2

In her poetry, Louise Bogan transcended cultural limitations of gender as she struggled for artistic control and personal maturity. During the twenties and thirties, conflicting images of women grew in response to contradictory discourses of gender. Therefore both thematically and stylistically, her poetry must be understood in terms of her unique experience of gender. This study explores the specific gender ideology of Bogan's time and examines the ways in which she engaged that set of cultural assumptions in her criticism and poetry. It also points out other factors such as class and artistic temperament important to an understanding of her work. Within this context, it presents a feminist reading of Bogan which avoids reducing her to a patriarchal cripple. Bogan's ambivalence about feminine nature informed her views on women's poetry and its marginal position in the literary scene. The voice in “Women” totally internalizes the enemy and turns on her own feminine self. The poem's unrelieved bitterness toward gender epitomizes the worst kind of isolation, extending to encompass both the outward and inward world. Bogan's style is plain, terse, bare to the point of austerity. She depicts with severe economy, with reticence and by implication and her images are objective. As a female poet who reflects human situation truly, she transforms human sufferings into vast resources of poetic energy and miracle of art. Her poetry is a record of her progress as a poet and person. < Woosuk University >

문학적 테러리스트로서 에밀리 디킨슨의 시

서혜련 ( Seo Hae-ryen ) 대한영어영문학회 2003 영어영문학연구 Vol.29 No.2

As a woman poet seeking to authorize herself and her voice within a predominately male literary tradition, Dickinson seeks in effect to locate herself and her creative practice in relation to the most articulate women writers of her age such as Charlotte Bronte, Elizabeth Barrett Browning and George Eliot. Under their influence, Dickinson discovered an elastic power that enabled her to dance like a Bomb, abroad" and dream terrorist dreams of annihilating the Puritan fathers, New England culture, and ultimately the entire edifice of America itself. This study attempts to analyze Dickinson's letters and poetry in the light of female poetic theory. Dickinson's femaleness is the source of the vitality of her poetry. The main concern in this study is to trace an outstanding imagination, the surprise of her novel, verbal strategies, her bold disregard of conventional shapeliness, and female consciousness peculiar to her in her poetry and to show that she is one of the most innovative female poets in revealing women's own experience of literature and women's ways of knowing. Emily Dickinson’s life and works enact the symbolic dynamic that structures the poetic tradition and larger cultural relations it represents. Dickinson’s shifting and shifty language of breaks, ellipses, compression, disjunction, indirection and logical contradiction gestures towards the language of the “maternal body” that traverses and ruptures the symbolic language of the fathers. As a female poet who reflects human situation truly, she transforms human sufferings into vast resources of poetic energy and miracle of art. < Woosuk University >

시 담론의 고고학

서혜련 ( Hae-ryen Seo ) 대한영어영문학회 1999 영어영문학연구 Vol.25 No.1

This essay explores the poetic text as a network of intertextual relationships, various notions of intertextuality, the range of intertextuality, the identification of intertextual relationships between texts, and differences between source or biographical criticism and intertextuality study. Intertextuality is the power of a written text to impose a reorganization of the corpus of texts that preceded its appearance, creating a modification in the manner in which they are read. The most salient effect of this strategic change is to free the literary text from psychological, sociological, and historical determinisms, opening it up to an apparently infinite play of relationships with other texts. This perspective invites us to explore an area of the incorporation of heterogeneous literary texts in the text under study. In a text a polylogue of different systems is constantly taking place. Different modes of the explanation and systematization of the world, different pictures of the world, come into conflict. Literary history abounds in renaissances,the revival of past artistic languages which are perceived as innovatory. Intertextuality is always intended to produce multiplicity, to open the text to its fullest signifying potential. Each reader infuses his or her own cultural, intellectual, ideological, and psychological modes unto his or her interpretations of the text so that each reading is different from every other reading.

윤리와 사랑의 시학: 1930년대 오든의 시

서혜련 ( Seo Hae-ryen ) 대한영어영문학회 2002 영어영문학연구 Vol.28 No.3

Through response to T. S. Eliot who was his model at one time, Auden made the lyrical and personal voice available to poets writing about new impressions, insights, contemporary ideas, social, political issues, and topical events which he met with an ever-increasing curiosity in the turmoil of the 1930s. Auden's early poetry is much concerned with diagnosis and portrayal of the ills of his country such as economic depression, poverty, spiritual desiccation and all the disordered conditions of his time. He ended the era of The Waste Land, and opened the new way for a highly varied poetic styles, forms and new many different kinds of poetry. So much of Auden's verse at any time is in a sense detached, impersonal, briskly purposive. During the 1930s Auden's demotic interests best served his poetry in the practice of the epigrammatic line and of various conversational meters. His poetry in the 1930s records a series of exploratory voyages from England to Iceland, Spain, China, across Europe, finally to America. Morality is always a public affair, but for Auden it had to be the result of a directly personal, private, even arbitrary decision. Most of his poetry is spiritually muscular, a sort of moral gymnastics. As a solution to the constriction of the present age, Auden proposes, not a political ideology, but the idea of the community tied by love. The history of Auden's mental journeys is that of the gradual discovery of the potentialities of the meaning of love for him. He is always not searching for a Marxist paradise, but for “new styles of architecture, a change of heart,” a recovery of psychic health and universal love through perfect communion in themselves and in society. < Woosuk University >

일상언어와 시어

서혜련 ( Hae-ryen Seo ) 대한영어영문학회 1998 영어영문학연구 Vol.24 No.3

The task of this paper is to attempt a definiton of the term "poetic language" and explore what it is that differentiates poetic language from ordinary language, what the intrinsic linguistic properties and the internal structure of the text which make it a poem, and how abstract ideas are usually conceptualized spatially on the basis of Jakobson's linguistic poetics, Mukařoský's aesthetic semiotics, Lotman's poetics and Leech's theory of deviation in poetry. The focus on the message, the use of equivalence relations as the constitutive device of the sequence, the delimitation between sign and object, the use of sound figures, and the use of grammatical parallelism-- all of these are definitions for the poetic function as a whole. For poetrv, the ordinary language is the background against which is reflected the esthetically intentional distortion of the linguistic components of the work, in other words, the intentional violation of the norm of the ordinary The violation of the norm of the ordinary, its systematic violation, is what makes possible the poetic utilization of language. The function of poetic language consists in the maximum of foregrounding of the utterance. In poetic language foregrounding achieves maximum intensity to the extent of pushing communication into the background as the objective of expression and of being used for its own sake. Poetic language is a different form of language with a different function from that of the ordinary.

토마스 하디 시의 비극적 색채의 소극적 아름다움

서혜련(Seo Hae-Ryen) 신영어영문학회 1999 신영어영문학 Vol.12 No.-

테니슨의 『A. H. H.를 추모하며』에 나타난 신비적 체험과 영적 순례

김경순(Kim, Kyoung-Soon),서혜련(Seo, Hae-Ryen) 신영어영문학회 2013 신영어영문학 Vol.56 No.-

Tennyson’s In Memoriam has 133 sections with various themes, images, motifs and tones. But each section functions independently as a single unity apart from the rest. It can be analyzed from various perspectives of different themes, including psychological introspection, life and death, biological and social issues, faith and doubt. The research aims at exploring the emotional and religious trauma and shock of his friend’s death, and spiritual revelation through mystical experience, focusing on spiritual pilgrimage. It shows us its wavering progression from a deeply-felt religious doubt to the proclamation of a universal faith, which can be expressed as the way of the soul. Tennyson’s faith was intuitive, based not only on the reality of the spiritual world but on the capacity of the human mind to transcend the material and apprehend infinity. It means that Tennyson goes beyond the logical knowledge and reason to establish subjective experience as ground on the reality of God and the purpose of human life.