조이스의 『젊은 예술가의 초상』에서 보이는 와일드의 미학

민태운 ( Ta Eun Min ) 한국제임스조이스학회 2011 제임스조이스저널 Vol.17 No.1

Oscar Wilde`s influence upon Joyce`s idea of art is evident, as is his even more direct influence on Stephen Dedalus. This essay examines Joyce`s A Portrait of the Artist as a Young Man to see how closely it reflects Wilde`s aesthetics, aesthetics mainly explained in Wild`s writings such as “The Decay of Lying” and “The Critic as Artist.” Wilde opines that life imitates art, not the other way around; interestingly, Stephen mimics Dantes of The Count of Monte Cristo, thus illustrating the influence of art upon life. For Wilde, art is purer and more perfect than life. Art is also the realm of pure invention and lying, the world of the “green rose” Stephen retreats into during the Christmas dinner scene. Wilde asserts that human beings can shield themselves from the sordid perils of actual existence through art only; Stephen often escapes from the competitive, harsh realities of life into a static, non-threatening world by detaching himself from them. This is closely connected with “spectatorism,” which Henry supports and practices in The Picture of Dorian Gray, a philosophy that allows Stephen to turn reality to art by transforming vulgar human life into aesthetically distanced drama. Stephen is criticized as antisocial and egotistic by his friends, for he rejects their requests for political action. From a Wildean point of view, however, Stephen would be a genuine artist, for action of every kind, for Wilde, belongs to the sphere of ethics, not of art. Wilde even supports the egotistic attitude for an artist. In this context it is understandable that Stephen decides to leave his society, which is “the basis of morals,” as Wilde explains it. Thus, Stephen`s “I will not serve” announces his break from the fetters of society and indicates the artist`s and art`s autonomy. Undoubtedly, Stephen is a type of Aesthete, but Joyce is not the same as his persona. Joyce is persistently realistic; he uses the technique of “scrupulous meanness” in Dubliners and “personal experiences” and encyclopediac knowledge in other works, and these are exactly what Wilde is against. Also, “washerwoman” and the real people from “Blue-Book” appear in Joyce`s art, a practice Wilde criticizes severely. Ultimately, Joyce succeeds in making interesting fictions out of “dull facts,” invalidating Wilde`s as well as Stephen`s judgment.

황야의 기사: 이웨인과 올페오

강지수 ( Ji Soo Kang ) 영미문학연구회 2009 영미문학연구 Vol.16 No.-

The wilderness, in the form of forest, and the civilized court of knights and ladies often appear as binary oppositions in medieval European romances. The mythical inhabitant of the wilderness, the wild man, in turn, has been considered an oppositional figure to the knight. This essay tries to explicate the relationship between these oppositions by exploring two fourteenth-century Middle English romances where the courtly knights become wild men. In Ywain and Gawain the court and its representative knight are not the norm according to which wild-man figures and even an animal define themselves. Rather, Ywain not only compares badly against the monstrous shepherd of the wilderness, but also regains his knightly identity with the aid of a beast whose various images overlap with those of the knight himself. In Sir Orfeo, the harper-king exiled in the wilderness is empowered and able to restore his queen as well as his kingdom when he recognizes the element of brute force and death in a fairy hunting scene. It is my contention that the experience of wildness in the wilderness by the courtly knights align them with the force of nature that in turn empowers their civility and courtliness.

유만주(兪晩柱)가 만난 이안중(李安中) - 1786년 9월, 남산의 문학청년들-

김하라 ( Kim Ha-ra ) 한국한문학회 2018 韓國漢文學硏究 Vol.0 No.69

본고에서는 兪晩柱의 『欽英』에 기록된 바를 바탕으로 李安中의 청년기를 재구했다. 충청도 단양의 문인 이안중은 23세 되던 1774년, 자신이 쓴 시문을 보이기 위해 서울 창동의 兪漢雋 家를 방문했다. 유한준의 외아들로 당시 20세였던 유만주는 「浪華女兒曲」 등 이국 여성의 목소리로 읊은 그 시문에 깊은 인상을 받았다. 그 이래 이안중은 1786년까지 한 해에 두어 차례 이 집을 방문하여 유만주와 교유했다. 유만주는 詩論이 중심이 된 이안중의 言說 및 그가 낭송하는 자작시를 경청했으며, 또한 『索隱』 등 그의 야담집도 읽고 일기에 면밀히 기록했다. 이에 힘입어, 자작시를 낭송하는 감성 충만한 시인이자, 여성인물의 생애에 관심이 많은 야담작가이며 시의 음악성과 형식의 단련에 비중을 두는 평론가로서 이안중의 다각적 면모에 접근할 수 있었다. 이에 더하여, 이안중의 작품 「雁帝本紀」가 매개가 된 1786년 9월 11일과 9월 19일의 특별한 文會에 대해 검토해 보았다. 그로써 흥미로운 시문을 저술하는 것 이상으로 그것을 낭송하는 데 각별한 재능이 있었던 이안중의 면모를 발견할 수 있었으며, 그 문학적 배경으로 어른거리고 있던 朴趾源의 존재도 확인할 수 있었다. 아울러 모임의 구성원 중 한 사람인 金相任의 신원을 밝히고 그가 박지원의 후배 문인으로 중요하게 거론 될 여지가 있다는 단서를 얻은 것도 본고의 성과라 할 만하다. The purpose of this paper is to portray a portrait of a literary youth in the 18th century Joseon. The young man's name is Yi Ahn-jung and his home is Danyang in Chungcheong Province. In 1774 he visited the house of Yu Han-jun in Seoul, where he showed his poetry and was encouraged. At that time, Yu Man-ju, Yu Han-jun's only son, was impressed by Yi Ahn-jung and his poetry. And Yu Man-ju wrote his diary Heumyeong for the next 13 years and detailed his encounter with Yi. Thanks to the diary Heumyeong, we can reproduce various aspects of a literary youth of Joseon. Yi Ahn-jung, drawn in Heumyeong was a poet who recites poetry that he wrote himself, a prose writer who was interested in the life of female characters, and a critic who considered the form and musicality of poetry as important. I also analyzed the literary gathering of Yi Ahn-jung and his sympathies to appreciate chrysanthemums and to recite poems and prose. Yi and his friends gathered in a garden in Cheongpa-dong, Seoul on lunar September 11, 1786, and gathered at the house of Yu Man-ju’s in Chang-dong on September 19, a few days later. On this occasion, Yi Ahn-jung recited his prose “Life of the Emperor Wild goose” and Yeolhailgi, the China travel sketches of Park Ji-won’s and made a deep impression on the audience. Among the participants was Kim Sang-im, one of the juniors who followed Park Ji-won. He referred to Park Ji-won’s recent works and expressed the influence of Park Ji-won, a literary artist. The diary of Yu Man-ju is a vivid description of a literary gathering in Seoul in the late 18th century, and it helps to understand the situation of Joseon literature and literary youth at that time.

William Faulkner, `The South,` and the Creation of If I Forget Thee, Jerusalem

( Jungmin Kim ) 한국영어영문학회 2016 영어 영문학 Vol.62 No.4

In If I Forget Thee, Jerusalem, Faulkner appears to have become interested in crafting a novel out of disparate materials. His love affair with a woman in Hollywood figured prominently in the making of the love story titled “Wild Palms.” Shaping this story based on his own suffering. Faulkner turned his pain into art. As a counterpoint to the doomed couple, a young tall convict with no name emerged in his imagination. “Old Man” concerns the tall hillbilly convict, adrift in a small boat with a pregnant woman on a flood-swollen river. Faulkner`s vexing attitude toward his financial success as a writer and the cultural representations of the national crisis of the Great Depression are entangled in these two juxtaposed stories. Though he coupled a tale of man in society and one of man in nature, Faulkner does not urge us to read the book as two separate novellas instead of as one novel. The interweaving of the two parts constantly reminds us that two different worlds contrapuntally parallel. Despite the heavy ironies derived from the reading of these contrasting stories, it is indubitable that “Old Man” serves primarily to parody the tragic theme of its companion piece. For some readers, If I Forget remains a flawed work, but I would rather contend that it is, in many ways, a fascinating novel. Although it cannot be a perfect success in a new experiment of storytelling, If I Forget proves, at least, one of Faulkner`s innovative experiments as a unified work comprised of two discrete stories.

오스카 와일드의 『행복한 왕자와 이야기들』에 나타난 사회적 미학

양윤정 미래영어영문학회 2019 영어영문학 Vol.24 No.3

This paper intends to research Oscar Wilde’s socio-aesthetics in The Happy Prince and Other Tales(1888), his first book of fairy tales. His most works in The Happy Prince and Other Tales expose the problems arising from the conventions in Victorian bourgeois society. These stories describe how hypocritical social practices and measures maintained control of the system. They also serve as records of pain and suffering, with plots that seldom have happy endings despite being modeled as fairy tales. The main characters, through their deaths, revealed the poor conditions of a modern capitalist society that ultimately landed them in tragic situations in the end. Under these conditions, the best way an individual could rise was to be crucified, much like Christ. Since the norms of society have not significantly changed, the personal sacrifices of a protagonist are not enough to end poverty, injustice, and exploitation. However, these tales present a bright vision into a dark reality, representing Wilde’s socio-aesthetic life-changing art.

포크너의 『예루살렘, 내가 만일 그대를 잊는다면』 서사 장치 재조명

류현주 신영어영문학회 2023 신영어영문학 Vol.85 No.-

This paper attempts to review and reframe research approaches on William Faulkner’s If I Forget Thee, Jerusalem to elucidate his signature narrative techniques. As one of the leading modernist writers, he is admired as an innovative experimentater of narrative styles. His artistic adventure was not limited to literature, inside and outside the US, and expanded to films beyond Hollywood. His narrative experimentations gave insights to modern films as well like a new wave cinema in Europe, especially in France. If I Forget Thee, Jerusalem(also known as The Wild Palms), a collection of juxtaposed and interwoven short stories, is a primal case in point yet has been less discussed, compared to his other celebrated Yoknapatawpha novels. Two narratives, “Wild Palms” and “Old Man” are structured contrapuntally in point-counterpoint manners. It is no wonder that these two discrete narratives combined are often referred to as a novel.

1970년대 한국 국책영화의 양가성과 균열 양상에 관한 연구 -<들국화는 피었는데>(1974)를 중심으로-

오진곤 ( Oh Jin Gon ) 한양대학교 현대영화연구소 2019 현대영화연구 Vol.15 No.1

본 논문은 이만희 감독의 <들국화는 피었는데>(1974)에 주목하여, 이를 중심으로 1970년대 한국 국책영화의 양가성과 균열 양상에 관해 고찰한 연구의 결과물이다. 박정희 정권의 유신체제 수립직후인 1973년 4월 3일 출범한 영화진흥공사(영진공)에서는 한국전쟁을 소재로 한 반공 전쟁영화를 직접 만듦으로써 ‘영화 국책’을 실현하고 동시기 한국영화의 전형을 제시하려 하였다. 그렇지만 계몽·선전의 효용과 대중적 파급력을 일거에 획득하려 한 이러한 국가적 기획은 제작 과정에서 감독의 연출을 거치며 온전히 작품에 수용되지 못한 채 차질을 빚어내었다. 이에 영진공의 자체영화 제작 사업은 중지되었고, 정부는 우수영화 제도를 통해 민간 차원에서 ‘국책영화’를 양산시키려 하였으나 이 역시도 혼선이 일어났으며, 이는 국책영화의 정체성과 안정성이 저해되는 결과로 이어졌다. 영화 정책 및 제도상으로 ‘국책’에 대한 당위가 강조되긴 하였으나 이것이 작품과 대면하며 겉돌거나 굴절되어 버리는 현상이 1970년대 초중반을 지나 중후반을 통과하면서도 지속적으로 일어났던 것이다. 동시기 한국영화의 제작 경향에서 결코 가볍게 치부되어서는 안 될, 영화사적 의의를 내포하는 의미 있는 지점이라 할 수 있다. This thesis focuses on < When Wild Flowers Blossom >(directed by Lee Man-hee, 1974), and it is the result of a study that examines the ambivalence and cracking aspect of Korean national film in the 1970s. The Korea Film Promotion Corporation(Young Jin-gong), which was launched on April 3, 1973, shortly after the establishment of the Park Chung-hee Yushin regime, tried to realize the ‘National Policy Film’ by producing the anti-communist war films based on the Korean War and to present the typical Korean movie at the same time. However, this national project, which tried to acquire the utility and popular power of enlightenment and propaganda at once, was disrupted without being fully accepted in the work through the directing of the director during the production process. Due to this, Young Jin-gong’s own film production business was suspended, and the government tried to mass-produce ‘National Movies’ at the civilian level through the excellent film system, but this also caused confusion, which resulted in the identity and stability of national films. Although the film policy and system emphasized the necessity of ‘National Policy’, this phenomenon was confronted with the work and it was repeatedly happening in the mid-to late 1970s through the early and mid 1970s. This time is a meaningful point that implies the significance of the film history that should never be lightly dismissed on the trend of Korean Film Production in the concurrent period.

산업화 시기 야성적 상상력의 서사적 양상

오양진(Yang Jin O) 한국현대소설학회 2013 현대소설연구 Vol.- No.52

This article is aimed to unravel a significance of wild imagination that appeared in Korean novels in the times of industrialization, centered on novels of Kim, Seung-ok and Hong, Seong-won. During 20 years after the Korean war, the Korean society was heightened nervousness about negative impacts of industrial civilization. While life in the period of industrialization was highly organized for efficiency in the production, people became extremely self-conscious from their complaints about the organization society, and everything was formalized, impulsive and unplanned acts and activities were not allowed. Therefore, the Korean society increased more than ever a yearning for widely open space, an interest in the natural and wild interest, and a craving for primitive life force. And this is why Korean novels in the period of industrialization idealized a wild life. Actually novels of Kim, Seung-ok and Hong, Seong-won in the times of industrialization show each in different ways a wild imagination that is not afraid to enter a wild world apart from a customary orbit of life. On the other hand, a wild imagination from Kim, Seung-ok to Hong, Seong-won assume an aspects of realism strengthening and wilderness weakening from the point of view of Korean literary history. Of course, this flow can be understood as a result of the deletion of romantic decisiveness from a wild imagination of Korean novels in the period of industrialization, while the reality of industrialism become strengthened more than the previous. However, that the wild imagination become embarrassed in front of the strengthening of reality does not necessarily mean that there would be recession. It has rather the meaning that a wild imagination of Korean novels in the period of industrialization stoped undermining reality or becoming incredible and would became serious to seek a different future, considering the pressure of reality.

Deconstruction of Western genre in the 1950s' and 1960's: Budd Boetticher, Sam Peckinpah, and Sergio Leone

노광우,권재웅 동국대학교 영상미디어센터 2016 씨네포럼 Vol.0 No.24

The Western, one of the most popular film genres, reached to the acme of its genre circulation in the 1950s. But, it showed the significant change in its narrative and convention gradually. It is regarded as the response to socio-historical transformation - the change of film audience, US intervention in Vietnam and 1960s social turmoil. This research explores the change seen in narrative and convention and examines new element and sensibility. It is based on the analysis of some Western films of 1950s and 1960s, which produced by Budd Boetticher, Sam Peckinpah, Sergio Leone. The 1950s Westerns are divided into two tendencies. First, the main characters allegorize nation building in the West. Second, on the contrary, stories and events are rather personal, and West or landscape is provided as the spatial background of them. In the 1960s, the myth of nation building was not effective any more. Boetticher's two films are relatively close to romance Westerns, Peckinpah's two films are included in epic Western, but Ride the High Country is more romantic and more appealing for women. Leone's film is an action film that emphasizes stylish gun fighting and deals with personal struggles and private feud. The transition from Boetticher through Peckinpah to Leone is the intensification of violence and the marginalization of woman. Individual stories are just personal stories (Boetticher), the stories of deterioration appear (Peckinpah), or the stories are told and revealed with different perspectives and unfamiliar style (Leone). In any direction, cinematic violence increases, romance disappears, and the genre becomes more

Deconstruction of Western genre in the 1950s" and 1960"s

Noh, Kwang Woo(노광우),Kwon, Jae-Woong(권재웅) 동국대학교 영상미디어센터 2016 씨네포럼 Vol.0 No.24

서부영화라는 장르는 1950년대에 이르러 그 정점에 달했으나, 내러티브와 형식에 있어서 점차적으로 변화가 나타나기 시작했다. 이러한 변화의 원인으로 미국의 베트남전 참전, 영화 관객의 변화, 그리고 1960년대의 사회적 혼란과 같은 환경적 영향이 주로 제시되고 있다. 본 연구는 이 시기의 서부영화의 스토리와 형식에서 나타나는 변화에 대한 고찰을 통해 서부영화라는 장르가 어떻게 바뀌는지를 살펴보고자 한다. 이를 위해 1950년대와 1960년대의 대표적 서부영화 감독인 버드 보에티처, 샘 페킨파, 세르지오 레오네의 작품들을 다루었다. 1950년대의 서부영화는 크게 두 가지 경향으로 구분되는데, 하나는 국가건설이라는 의미에 대한 우화적 표현이고, 다른 하나는 이와는 전혀 다른 개인적 수준에서의 이야기를 서부라는 공간적 배경에서 전개하고 있다. 그러나 1960년의 서부영화에서는 이러한 특성 중에서 국가건설과 같은 성격을 더 이상 보여주지 않는다. 보에티처의 두 작품에서는 로맨스적 성격이 더 나타나고 있다. 페킨파의 경우, 서사적 성격의 모습을 보이기는 하지만, <칠인의 무뢰한Ride the High Country>에서는 로맨틱하면서 여성들에게 더 흥미롭게 다가갈 수 있는 모습을 보여주고 있다. 한편, 레오네의 작품들은 레오네적 형식의 총싸움과 함께 개인의 갈등과 불화가 강조되고 있다. 즉, 보에티처부터 페킨파를 거쳐 레오네로 이어지는 이행과정에서 드러난 요소는 폭력성의 강화, 여성존재의 사회 내에서의 주변 인물화라고 볼 수 있다. 즉, 개인적 수준의 이야기(보에티처), 타락적 모습의 등장(페킨파), 다른 관점 혹은 익숙지 않은 형식에 의한 이야기 전개(레오네)라는 특징들은 영화적 폭력은 강조되면서 장르의 남성적 경향 또한 강조되고 있다는 것을 보여준다. 한편 보에티처의 산악 결투, 페킨파의 슬로우 모션 액션, 레오네의 총싸움과 같은 영화적 표현은 이후 세대의 영화제작에 영향을 주었다. 결국, 서부영화라는 장르 자체는 쇠퇴되었지만 그 영향은 다른 장르와 다른 영화에 영향을 남기게 되었다는 것을 알 수 있다. The Western, one of the most popular film genres, reached to the acme of its genre circulation in the 1950s. But, it showed the significant change in its narrative and convention gradually. It is regarded as the response to socio-historical transformation - the change of film audience, US intervention in Vietnam and 1960s social turmoil. This research explores the change seen in narrative and convention and examines new element and sensibility. It is based on the analysis of some Western films of 1950s and 1960s, which produced by Budd Boetticher, Sam Peckinpah, Sergio Leone. The 1950s Westerns are divided into two tendencies. First, the main characters allegorize nation building in the West. Second, on the contrary, stories and events are rather personal, and West or landscape is provided as the spatial background of them. In the 1960s, the myth of nation building was not effective any more. Boetticher"s two films are relatively close to romance Westerns, Peckinpah"s two films are included in epic Western, but Ride the High Country is more romantic and more appealing for women. Leone"s film is an action film that emphasizes stylish gun fighting and deals with personal struggles and private feud. The transition from Boetticher through Peckinpah to Leone is the intensification of violence and the marginalization of woman. Individual stories are just personal stories(Boetticher), the stories of deterioration appear (Peckinpah), or the stories are told and revealed with different perspectives and unfamiliar style (Leone). In any direction, cinematic violence increases, romance disappears, and the genre becomes more and more masculine. Boetticher"s duel at a mountain, Peckinpah"s slow motion action, and Leone"s stylish gun fighting are influential to the next generation at the level of filmmaking. Though the genre itself deteriorates, the influence has remained in other genres and other films.