포스트모던 비극과 종교 : 낭만적 실용주의 전망을 중심으로

양병현 한국문학과종교학회 1999 문학과종교 Vol.4 No.1

The subject of postmodern tragedy and religion will be well discussed in terms of romantic pragmatism. In this paper, the romantic sense signifies postmodern pleasure, while the pragmatic sense reserves modernistic signification. In other words, the ultimate desire of the self should be realized in the world of life. This assumes that the self feels a crisis when it is not satisfying in the world, then desire will move toward satisfaction. Here, language will be a means of telling such experience, containing human desire and worldly symbols. So, romantic pragmatism looks as though it is seeking a comic sense of postmodernism, but it paradoxically preserves a tragic sense of modernism. For romantic pragmatism shows a transcendent spirit which is trying to get over the tragedy of the world. Religion is here shaped as a new form. The religious form is the spiritual experience of transcendence getting through such worldly tragedy. Also, it seeks a self-freedom to be achieved in the world and also a positive reaction to the world. First of ail, romantic transcendence is not just to avoid tragedy in that it transcends tragic experience in real life, but it receives a sense of pragmatism. This is to say that such a pragmatic attitude experiences tragedy as a power to change it in society. Here, romantic transcendence signifies religious experience, that is, human sublime and pious life experience. This paper aims to show the justification of tragedy to be able to express seriousness and tension in postmodern life by putting subliming materialism, postmodern pleasure and its sensibility into religiousness.

9/11, 그리고 이슬람 문학 신드롬

양병현 한국문학과종교학회 2017 문학과종교 Vol.22 No.2

9/11 테러 이후 아랍계 글쓰기에서 전통 이슬람 정신과 무슬림의 모습을 강 조하고 있는 경향이 커지고 있다는 점이다. 이슬람 문학에 대한 선정적이고 부 정적인 이미지가 대중에 노출될 가능성이 보다 커지고 있다. 9/11 이후 이슬람 세계를 경계의 시각으로 바라보는 서구 현실에 이슬람계 작품이 왜곡된 이미지 로 나타나는 경향을 무시하기가 어려운 것이 사실이다. 테러에 의한 희생과 이 에 대응하는 무슬림들의 공감대가 슬쩍 빠지고, 왜곡된 역사 혹은 모순된 시각 이 9/11 관련 테러 역사 혹은 서구/중동이라는 일상의 정치 스펙트럼으로 이념 적인 침투가 가해질 소지가 많아지고 있다는 점이다. 이에 상응하듯이 오히려 이슬람 문학이 이슬람 본질로 회귀하는 현상이 주목된다. After 9/11, the tendency to emphasize the traditional Islamic spirit and Muslims in Arab writings is growing. There is a greater likelihood that fearsome and negative images of Islamic literature will be exposed to the public. It is true that it is difficult to ignore the tendency of Muslim works to appear distorted in the reality of the West, which sees the Islamic world as a misgiving view after 9/11. There is a growing tendency for ideological infiltration to take place, as the heinous abhorrent act of terrorism and the consensus of Muslims responding to it are swept away, and distorted history or contradictory perspectives are created from the political spectrum of the daily life of 9/11 terrorist history or the West/Middle East conflicts. As a correspondence to 9/11, the phenomenon that Islamic literature returns to the essence of Islam is interestingly noticed worldwide.

프로이트의 『환상의 미래』에 대한 엘리엇의 논평 고찰: 프로이트의 환상의 미래 에 대한 엘리엇의 논평 고찰:

양병현 한국문학과종교학회 2015 문학과종교 Vol.20 No.1

프로이트(S. Freud)가 환상의 미래 (The Future of an Illusion)를 발표한 때가 1927년이었다. 이때 엘리엇(T. S. Eliot)은 종교에 대한 관심을 적극적으로 표현한 때여서 환상의 미래 에 대한 평가는 한마디로 ‘이상한 책’(a strange book)이었 다. 그 ‘이상하다’는 반응은 프로이트의 오이디푸스 콤플렉스 측면의 종교관에 서 비롯되었다. 종교는 현실 거부와 함께 소망스러운 환상 체제에 불과하며 신 의 믿음은 이상화된 ‘아버지’ 인물을 투사한 유아적 망상 이상도 아니라는 프로 이트의 주장은 오히려 엘리엇에게 자신의 종교적 신념과 기독교 문화의 현실성 을 되묻게 해 주었다. 결과로서 엘리엇은 영국국교 논의를 통해 종교문화는 역 사적이고 사회적 실체라는 점을 기독교 사회에 대한 사고 와 문화 정의에 관 한 소고 를 통해 적극 변증하였다. 종교를 문화사회적 실천 행위로 접근하는 이 런 자세는 오늘날의 종교공동체들 사이의 충돌과 인종들 간 이해관계의 의미를 되돌아보게 한다. It was in 1927 that Freud published The Future of an Illusion. Eliot then responded to the book as strange because he positively expressed religious concerns with it at that time. Eliot’s reaction of strangeness came out of Freud’s psychological thought of Oedipal complex in religion. Freud asserted that religion is “a system of wishful illusions, together with a disavowal of reality, in a state of blissful hallucinatory confusion,” that is no more than the obsessional neurosis of childhood. Eliot criticized such an assertion by taking a position of anti-Freud in traditional Christianity, especially for the sake of the Anglican Church. His answer to Freud’s The Future of an Illusion actually appeared in the two proses: The Idea of a Christian Society in 1938 and Notes Towards the Definition of Culture in 1948, where religious culture is normal and real advocating that community puts its religious spirit in social practice.

타락의 언술을 통해 본 이브의 청교도 이미지: 밀턴의 『실낙원』

양병현 한국고전중세르네상스영문학회 2011 중세근세영문학 Vol.21 No.1

John Milton's epic poetry, Paradise Lost, is likely to be a Puritan project in application for Eve independently. The concept of the Puritan value, purity, looks very hackneyed; yet the case of how Milton approaches to it the meaning of Eve's virginity before marriage, her sexual relationships with Adam at marriage, and then recovery of her purity should be a task to look into in terms of Eve's female sensitivity and their social relations. The discourse of Milton in language describing the Fall of Eve in detail and a way of Christian salvation has us review the significance of Milton's Puritan project of the married woman, Eve. For Milton, Eve's Fall must be a fatal mistake or a substantial sin in Christian belief; yet it is the sin not original or irremediable. As such, the aspect of Eve is highlighted with her hard life and difficulties which might be brought out of her sensual beauty and sexual attractiveness. Milton believes that evil shall be disposed via her daily experience, yet good will be recovered of it as sublimed into intellectual beautifulness in poetry and life as well. This is a way to enact the Puritan project as applied to the sensitivity of Eve in relation with Adam: a wedded woman who is sufficient to stand strong alone on Earth and feels free to choose her responsible life.

"의도적으로 모욕적인": T. S. 엘리엇과 로써미어 부인

양병현 한국T.S.엘리엇학회 2012 T.S. 엘리엇 연구 Vol.22 No.1

The literary achievements T. S. Eliot, as a poet, critic and publisher, had made with The Criterion (1922-1939), mostly a quarterly journal, at Faber & Faber, are supposed to be a good example by which we can examine the process of human studies in terms of production, consumption, and distribution of poetry. Lady Rothermere was a patron of the arts, including Eliot’s publishing activities for the commentary journal of The Criterion, yet she was not happy working with him for a long time. The response of Lady Rothermere to the first publication of The Criterion, by Eliot as publisher in October 1922, was critically and cynically ‘dull’; Ezra Pound considered such a comment by Lady Rothermere on Eliot’s works “intentionally offensive” in a letter to Eliot in 1922. Lady Rothermere pursued entertainment in cheap and vulgar literature for the public, different from Eliot, who wanted to publish an elite journal, intellectual and sincere in literary commentary, on his own. Nonetheless, the contribution of Lady Rothermere on Eliot’s works in The Criterion casts a great shadow, by supporting human studies and by the promoting popularity of humanities, into the early literary history of the 20th century. As a matter of fact, Lady Rothermere turned out to be an essential patron for Eliot’s literary activities in the 1920s, yet her active passion and involvement in Eliot’s publication of The Criterion appeared to be a considerable threat to his literary life in poetry and criticism.

「시므온을 위한 찬가」에 나타난 기다림

양병현 한국T.S.엘리엇학회 2013 T.S. 엘리엇 연구 Vol.23 No.2

『에어리얼 시집』에서 첫 시 「동방박사의 여정」에 이어 두 번째 시 「시므온을 위한 찬가」는 종교적 성격의 시임이 분명하다. 이 두 시는 아기 예수의 탄생을 축하하러 온 동방박사들과, 첫아들인 예수의 정결의식을 치르러 예루살렘 성전에 들린 부모를 만나는 성서의 시므온을 다루고 있다. 하지만 이 두 시 모두 예수의 죽음과 노년기의 죽음을 동시에 병치시키는 객관적 상관 기법을 사용하고 있다. 송영성구의 하나가 된 성서의 「시므온의 찬가」를 죽음에 임하는 시므온의 삶에 비추어 「시므온을 위한 찬가」로 번안한 엘리엇의 시는 성공회로 개종한 자신의 삶을 되돌아보고, 시므온의 삶을 스스로 삶의 지표로 세운 점에서 ‘시므온을 찬양’하는 시라 하겠다. 이로써 시므온을 위한 찬가는 엘리엇을 위한 찬가에 해당된다. 결과적으로 성서의 시므온이 예수의 모친 마리아에게 예수의 삶으로 인해 그녀의 삶이 고통스러울 것이라는 예언은 「번트 노턴」에서 지적하듯이 사람과 삶에 대한 엘리엇의 진단이기도 하다. 이처럼 「시므온을 위한 찬가」는 『황무지』 이미지와 「텅빈 사람들」의 이미지를 통해 삶이 무엇으로 어떻게 만들어져야 하는가에 대한 탐색이고, 동시에 구원을 향한 엘리엇의 종교적 성찰이라 할 수 있겠다.

‘초드라마틱’(ultra-dramatic) 패턴: T. S. 엘리엇 시 「머리나」

양병현 한국T.S.엘리엇학회 2011 T.S. 엘리엇 연구 Vol.21 No.1

The poem “Marina” of T. S. Eliot technically takes the play Pericles of Shakespeare in terms of two voices: the surface pattern based on a dramatic story of Pericles, prince of Tyre, and the deep pattern based on a ultra-dramatic feature of solemn music. Shakespeare is regarded as a dramatist and poet in his later works, such as Pericles, in which he uses a system of related allusions in dramatic situations to reflect implicitly on drama and its program in a unity of poetry and music. Eliot technically steals it in a different way, called his own program, where he secures a solemnity by virtue of a gaiety of content, and a gaiety by virtue of a solemnity of content. His poem thus is poetry which uses the order in which Pericles is written and his technical relations to the play in conversational language and dramatic situations on the surface and in ultra-dramatic aspects in depth. In the ultra-dramatic presentation, musical pattern, and liturgical treatment of characters’ emotions proceed to comment on the recognition scene (V, i) of the play. In the poem, the ultra-dramatic aspects refer to “Eliot’s perspective on life that is as if from beyond life.” The hidden music from the recognition scene (V, i) of the play seems supernatural, as if we are taking part in a ritual. Finally in terms of synchronicity, Hercules, a stoical character in Seneca, is taken for Pericles in Shakespeare; and Senecan Shakespeare is almost certain to be produced in Eliot’s poem “Marina.” We can see this synchronicities value in Eliot’s view of stoical life, taken from Seneca and Shakespeare as well.

T. S. 엘리엇 시 「작은 영혼」에 나타난 아동성 연구

양병현 한국T.S.엘리엇학회 2012 T.S. 엘리엇 연구 Vol.22 No.2

T. S. Eliot wrote the poem, “Animula,” in 1929 at the age of 41, which belongs in the later part of his literary life as a poet and critic. Eliot converted to a Catholic in 1927, the year his father-in-law, Charles Haigh-Wood, died. It was in 1929 that he was thinking of divorce with his wife, Vivienne Haigh-Wood, and his mother, Charlotte Champe Eliot, died as well. Biographically, the poem “Animula” is certain to reflect his own life from infantry to death, physically and spiritually. Actually, the poem develops with three stages ranging from the period of an infant, who “Issues from the hand of God, the simple soul,” to the period between adolescence and youth, who gets “irresolute and selfish, misshapen, lame,” with the characters who follow as if living in limbo in the final lines: Guiterriez “avid of speed and power” and Boudin “blown to pieces.” The title of “Animula” thus alludes to the poem “Animula vagula blandula”(a pale vagrant little soul) the Roman Emperor Hadrianus left dying - the little soul, once the friend of and guest to the body, now leaving its dying body. So, the poem “Animula” is designed to convey how to live till death from infantry, especially in the childhood. The child’s soul is identified as simple, yet miserable even in the childhood without religious discipline: “Pray for us now and at the hour of our birth.”

구조주의 모티브이론과 포스트구조주의의 문체론 연구: 헤밍웨이의 단편소설 "Cat in the Rain"

양병현 한국비평이론학회 1996 비평과이론 Vol.1 No.1

民主主義의 理想과 實踐:Whitman, Emerson, Thoreau의 民主主義 實踐意識

梁秉鉉 尙志大學校 1995 論文集 Vol.16 No.-

Modern democracy may be in big trouble in its essence and practice. And its solution will be sought in a certain way the writers, Emerson, Thoreau, and whitman, of the 19th century in America pursued ideals and practice for democracy of their time. It has been said that the essence of democratism is grounded in freedom and equality. Today, such ideas do not seem to work well in a practical sense. The was they established the nature of democracy either explicit or implicit in their thought and literature, and suggested how its ideals were put in practice, if in a little different ways, gives us a good lesson and insight: what we take for democracy and how we should follow for the practice of essential democratism. Whitman tried to show true freedom and equality, putting low in practice; Emerson earlier had showed how we get self-reliance, a way of practicing individual freedom and social concerns of others; and Thoreau then actually demonstrated Emersonian self-reliance in the Walden woods in terms of economy and life philosophy, proving himself to be a model of civilian based defense (CBD), the so-called civil disobediance, in a way of doing non-violent intervention in the State. Their common concerns of such human freedom and equality give significant way to out understanding of the basic and essential issues that modern democracy arouses and attempts to seek for a practial and ideal solution.