셰익스피어 소네트와 근대적 주체

이종우 한국고전중세르네상스영문학회 2013 중세근세영문학 Vol.23 No.2

This essay examines the ways in which the speaker persistently attempts to form self-identity as a modern subject in Shakespeare’s Sonnet 144. The speaker performs the interpretative journey to discover the true nature and meaning of love. In the process of refusing the conventional definition of love and constructing a new existence of love, the speaker self-consciously struggles to fashion himself on a basis of logical reasoning and material desire representing modernity. He is placed in a complex love relationship in which the speaker, a young man, and dark lady try to appropriate love in their own way. The young man tends to idealize love, defining love in terms of purity and physical beauty, while the lady pursues love physically and consumingly, approaching love as a means of sexual desire and temptation. The love of these characters is fragmented, selfish and static. Overcoming the negative aspects of love, the speaker examines the meaning of spirituality and physicality and seeks to redefine the relationship between spiritual love and physical love in a unifying method. In the course of confirming a new identity of love, the speaker grows into the modern subject through employing a modern way of thinking, critical doubt and logical examination. Especially he establishes himself as a modern subject by proving and strengthening the value and necessity of material desire shown in “a woman coloured ill”(4). He liberates himself from the closed system of the binary opposition between spirit and body, male and female, and furthermore advances to pontificate the power of material desire up to the point which it can bring the birth of modern man. His tireless quest for modernity satisfies the training and conditions needed to become a solid modern subject. In the last part of the sonnet, he once again stands to write a new love story containing the attempts of carrying out a modern spirituality rooted in material desire. He will certainly be a writing subject. Here lies the speaker's identity as a modern subject.

Tension and Meaning-Making in the Borders: Marginalia and Intermediality in MS Paris, BnF fr. 122, fol. 1

오은주 한국고전중세르네상스영문학회 2020 중세근세영문학 Vol.30 No.2

This study examines the first folio of BnF fr. 122 to envision an intermedial approach to marginalia in medieval manuscripts. Previous scholarship has rarely treated marginalia as intermedial phenomena, despite the fact that marginalia lie at the juncture of visual and textual media. As an intermedial case study of medieval marginalia, this paper revolves around three themes: marginalia invading text (designated as “image/text”); marginalia in conflict with other images (“image/image”); and the unique meaning-making processes of marginalia. I argue that the marginalia in fr. 122, fol. 1 are not semiotically but semantically invasive of the manuscript’s text. I also hold that they resist the imperatives of the folio’s miniature—thus manifesting tensions within the same, visual medium—and that those selfsame marginalia operate according to their own logic of proliferative meaning-making.

존 던의 『노래와 소네트』에 그려진 현존과 부재, 그리고 재현의 문제

최재헌 한국고전중세르네상스영문학회 2010 중세근세영문학 Vol.20 No.1

The concept of representation has occupied a new and important place in the study of culture and criticism. Representation refers to the production of meaning through language and it supposes the absence of the represented object. Postmodern criticism challenges the realistic view of representation which assumes that there is a simple relation between language and the real world. Instead, it overtly addresses the problem of the presence, the absence, and the representation as a pivotal concern in criticism. New explorations of power, gender, ideology in the Renaissance have not only provided radically new understandings of Renaissance texts but have also forced us to reexamine the critical, historical, and cultural presuppositions on which our readings are based. The aim of this paper is to explore the presence, the absence, and the problem of representation in Donne’s Songs and Sonnets. For this purpose, I will survey “A Lecture upon the Shadow,” “A Nocturnal upon St. Lucy’s Day,” “Air and Angels,” and “A Valediction: of my Name in the Window.” “A Lecture upon the Shadow” and “A Nocturnal upon St. Lucy’s Day” are concerned with shadows and representation. In “A Lecture,” the shadows are representations or signs of the lovers. The shadow is absent, and the present moment of noon is so evanescent, coming and going instantaneously. In the case of “A Nocturnal,” the poet is a shadow or representation of the state of dying itself. Love has wrought a new kind of alchemy, in which the poet has been made the quintessence of nothingness. Love, as alchemist, does not extract the quintessence from things but rather from nothingness, such as privation, emptiness, absence, darkness, and death. “A Nocturnal” is the variations on the theme of nothingness, anatomizing the speaker’s bitter grief and despair at the death of his beloved. In “A Valediction: of my Name in the Window,” the speaker’s name engraved on the window’s glass keeps him there as a presence during his absence, and functions as a talisman to prevent another suitor or lover from supplanting him.

땅과 인간의 회복: 제라드 윈스턴리의 디거즈 활동 시기의 팸플릿

김윤경 한국고전중세르네상스영문학회 2009 중세근세영문학 Vol.19 No.1

Like many radicals of the English Civil War, Gerrard Winstanley, one of the leaders of so-called "True Levellers" or "Diggers," composed several pamphlets in order to defend his group and search for possible comrades. The pamphlets published while he worked for the Digger community, notably "The True Leveller's Standard Advanced," "A Declaration from the Poor Oppressed People of England," and "A New-Year's Gift for the Parliament and Army" illustrate a distressed commoner's responses to the major political, economic, and social problems of the seventeenth century. In these three pamphlets Winstanley criticizes mostly land enclosure and proposes alternative ways to understand and imagine the relationship between the earth and human beings as well as the significances of the earth in human lives. While a number of contemporary people defended land enclosure because of its economic efficacy, Winstanley regards the earth and human beings as closely related parts of creation, or an extension of a universal spirit of love. He also represents the earth as the major foundation of communal agrarian labor, opposing to commercial approaches to the earth; since he respects the values of medieval agrarian society, agrarian labor had the undeniable priority in his vision. When Winstanley reconstructs the history of mankind, concentrating on human beings' struggle over land, he interprets the Bible in original and radical ways. Millenarianism of the English Civil War significantly influenced the author's historical consciousness and let him see his own present moment as a highly critical time for his countrymen; thus he urges the English people to fulfill their mission by achieving economic and political reformation such as abolishing the enclosure of common land.

The Negative Potential of the Fool in King Lear and the Politics of Nothing

최초아 한국고전중세르네상스영문학회 2017 중세근세영문학 Vol.27 No.2

This paper reveals that the Fool in William Shakespeare’s tragedy King Lear exceeds its role as a traditional court jester as a figure of homo sacer. Lear’s Fool resembles a medieval court jester who is hired to entertain his royal master, but it is my contention that this particular Fool not only fulfills the traditional role but also deviates from a typical description of a court buffoon. In fact, Lear’s fool is generative in bringing about affective change in Lear from the solipsistic monarch to a self-conscious man. What allows this influential power to take effect is the Fool’s state of inclusive exclusion. His extra-judicial positionality conditioned by the suspension of the sovereign law once sanctions his belonging in Lear’s royal circle but simultaneously displaces him from it. The Fool inhabits a type of an ostracized life that Giorgio Agamben calls homo sacer. As such, his untethered status enables him to re-fashion the unfavorable connotation associated with the concept of non-belonging, and unearth the teeming potentiality inherent in the state of exception. In highlighting Lear’s fault and re-envisioning the nature of sovereignty, the Fool’s non-identity is crucial as well. The Fool’s namelessness allows the Fool to become a united subject, an alternative to a unified subject. The Fool troubles the division between the interior and exterior, and the public and private, on which Lear’s sovereign power rests. The paper argues that the Fool, as Lear’s expression of sovereignty, sheds light on the idea that to speak is to perform and to perform is to do politics.

서양 중세 사회의 성윤리와 『실낙원』에 나타난 밀턴의 성윤리 비교

노이균 한국고전중세르네상스영문학회 2005 중세근세영문학 Vol.15 No.2

The purpose of this paper is to compare sexual ethics in the middle ages and in Milton's Paradise Lost. There were some distinctive features in the sexual ethics of the middle ages. First of all, most women in the middle ages did not hold civil or ecclesiastical rights, attend universities, or engage in the major professions. They lived their lives only as sex partners, mostly without their own identity. Sexual ethics of these ages were marked by the women's passivity and subordination to men. Further examination reveals that the inner theory of the medieval sexual ethics preconditioned the severely corrupted patriarchal and masculine social structure. For example, most early Church fathers and Christian theologians regarded the aim of marriage only as the source of propagation. Such belief brought forth a sexual prejudice toward woman and had an effect on woman's inequality to man. In contrast, open marriage did not matter because the public considered marriage not to be a divine service but to be just a contract. Against the prevailing sexual ethics of the middle ages, Milton, advocates monistic sexual ethics on the assumption that 'Man is originally good.' This sexual ethics attempts to unify nature, human body and soul, and human mind, refuting the dualistic sex ethics in the middle ages. Milton regards 'the organic sexual ethics' as the real sexual ethics that blends the biological and spiritual with the social characteristics.

존 던의 경구시의 장르적 특징과 글쓰기 전략

최재헌 한국고전중세르네상스영문학회 2015 중세근세영문학 Vol.25 No.2

Donne’s epigrams were his earliest poems, but have received relatively little academic attention. The origin of the word epigram is the Greek (ephigraphein) or Latin (epigramma) word which means ‘to inscribe’, and as this origin suggests, was originally conceived as inscriptions on tombs, buildings or memorials. As a literary genre, epigrams developed to become short satirical and witty poems, often containing twists. Donne’s epigrams provide a useful and insightful introduction to key writing strategies and topics of his writings, including gender matters and power. Donne reveals his views of the world, speaking in his own voice as an epigrammatist. Presently twenty pieces of Donne’s epigrams are known, and subjects of his epigrams can be grouped into classical mythology, war and satirical pieces. Donne’s epigrams display mastery of puns, and contain irony and intellectual insights. Furthermore, the generic characteristics of epigrams such as satirical wits and ambiguity become common factors in almost all genres of Donne’s writings. For example, his Songs and Sonnets are known for its satirical values and wits, which distinguishes them from simple love poems. Donne was acclaimed as the best English epigrammatist by Jonson, and Donne proved himself as the master of the satirical, witty and pointed writings even beyond the genre of epigrams.

드라이든의 오거스턴 신화와 현실: 『압살롬과 아키토펠』과 「콩그리브에게」를 중심을

김옥수 한국고전중세르네상스영문학회 2003 중세근세영문학 Vol.13 No.2

물질에 임재한 신성: 크록스턴 성체극의 기적

강지수 한국고전중세르네상스영문학회 2019 중세근세영문학 Vol.29 No.3

The purpose of this essay is to bring critical attention to the fact that Croxton Play of the Sacrament is an exploration on Christian materiality. More widely known as a didactic play that expounds the truth of transubstantiation and also as an anti-semitic play about host desecration, this play, I argue, participates in an important theological and ecclesiological discussion about the ontological status and power of holy matter as material. The eucharistic miracle was in the late Middle Ages was at once a welcome opportunity to strengthen popular devotion and a cause for deep anxiety on the part of theologians and church leaders. The ambiguous, awkward, and uncomfortable turn of events in the last part of the play including the measures the bishop takes in his handling of the eucharistic miracle suggest that this play is caught in the paradox of materiality that is not God but reveals God.

보몬트와 플레처의 『필래스터』에 나타난 폭군방벌론(暴君放伐論)

도인환 한국고전중세르네상스영문학회 2019 중세근세영문학 Vol.29 No.3

Most political plays in early modern theatre condemn civil rebellion as sacrilegious act in accordance with the absolutist monarchical discourse of the time. Yet the armed uprising of Sicilian civilians in Philaster is portrayed from a positive political viewpoint which at once denies the Tacitian fatalism and advocates the Ciceronian activism. This essay aims to delve into this innovative popular politics by putting the play in the controversial context of monarchomachy. Whilst absolutism was an extreme version of monarchical constitutionalism which endorses divine kingship, monarchomachy was on the other opposite of constitutionalist spectrum which sanctions popular power to kill a tyrannical king. It was an emergent political discourse developed by the French Huguenots amidst the Massacre of St Bartholomew’s Eve in 1572. The political innovativeness of Philaster can also be considered from the viewpoint of a recent post-revisionist historiography which places the early modern popular politics in the grid of a dynamic reciprocity between upward pressure of the people and downward dictatorship of the ruling elites. The essay adopts this post-revisionist viewpoint and argues for the positive political consciousness of the Sicilian people by analyzing it in terms of three contrasting pairs of political ideas: i.e. absolutism vs. constitutionalism, Tacitism vs. Ciceronism, and divine kingship vs. monarchomachy.