버지니아 울프의 그리스어에 대한 관점 - 『출항』, 『제이콥의 방』과 『댈러웨이 부인』을 중심으로

이협 미래영어영문학회 2013 영어영문학 Vol.18 No.1

This article is an attempt to analyze Virginia Woolf’s perspective on Greek. Woolf has been fascinated with Greek since she learned it in childhood unconventionally from his father. In her visits to Greece, she pays attention to the sound of an uneducated Greek peasant’s utterance. In “The Perfect Language,” Woolf emphasizes the phonetic effects of Greek which captivate her. In “On Not Knowing Greek” Woolf cites Agamemnon to exemplify the significance of semiotic process in Greek. The unknowability of Greek is privileged. As the translations cannot represent the sound quality of original Greek works, Woolf undervalues the translations. In The Voyage Out, Clarissa Dalloway is mesmerized by Greek though she does not know Greek words at all. She is impressed by the phonetic effects of it. In Jacob’s Room, Jacob favoring the Greek culture thinks it is meaningless not to shout at Haberstock hill. He also responds to its phonetic effects. In Mrs. Dalloway, Warren Septimus in dementia imagines that birds sing in Greek. She alludes to Choruses in “On Not Knowing Greek.”

존 그린리프 위티어의 초기 반노예제 시

이협 인문사회 21 2018 인문사회 21 Vol.9 No.6

This article is an attempt to analyze John Greenleaf Whittier’s anti-slavery poems. As a quaker, he criticizes and satirizes the rife slavery in the nineteenth century America. Whittier was engaged with the political discourses regarding the anti-slavery in America. His thoughts are based on his religious belief. Stanzas for the Times was written against the pro-slavery meeting held at Faneuil Hall in Boston in 1835. In the poem, the speaker raises a question to the absurdity of the American society in which slaves are relentlessly exploited. The Hunters of Men was written as an opposition to the insistence of American Colonization Society that slaves be sent back to Africa. He satirizes a wide range of Americans who merrily hunt slaves. The Slave-Ships describes a historical tragedy that occurred on a slave-ship. Dozens of slaves who got blind during the voyage were thrown into the sea. It problematizes the dehumanization of slaves. Whittier’s efforts greatly contributed to the abolitionist literature. 본 논문의 목적은 존 그린리프 위티어의 반노예제 시를 분석하는 것이다. 퀘이커교도로서, 그는 투철한 종교적 신념을 가지고 19세기 미국의 노예제를 조소적으로 비판한다. 위티어는 미국의 반노예제에 관한 정치적 담론에 관여하고 있었다. 1835년 보스턴 패뉘일 홀에 열린 노예제를 찬성하는 회의에 반발하여 「시대를 위한 시」가 창작되었다. 시에서 화자는 노예들이 착취당하는 미국 사회에 대해 의문을 제기한다. 미국식민협회 연설자들의 노예들을 아프리카로 귀환시키라는 주장에 대한 반발로 작시된 「인간 사냥꾼들」에서 시인은 노예 사냥꾼들을 풍자한다. 정치인은 물론이고 성직자마저도 즐겁게 노예를 사냥한다고 묘사된다. 역사적 사실을 배경으로 하는 「노예선들」은 노예선 항해 중에 눈이 먼 노예들이 비인간적으로 취급받고 바다로 버려지는 상황을 묘사한다. 위티어의 노력은 노예해방 문학에 기여한 바가 크다.

에즈라 파운드의 보티시즘을 반영하는 조지 앤타일의 <기계적 발레>

이협 사단법인 인문사회과학기술융합학회 2017 예술인문사회융합멀티미디어논문지 Vol.7 No.8

This article is an attempt to contextualize George Antheil the American composer’s Ballet Mécanique in the flow of European modernism. In experiencing the Avant-Garde trend in Paris in the 1920s, Antheil came to be aware of Ezra Pound’s Vorticism. Similar to Futurism in many aspects, Vorticism found the possibility of mechanical aesthetics. Under this influence, he composed experimental pieces of music, including violin sonatas and Ballet Mécanique. Ballet Mécanique is a counterpart in the musical sphere to Vorticism. Ballet Mécanique was composed as a background music for the same-titled art film by Fernand Léger. Its most conspicuous trait is the mechanical sounds. Similar to factory sounds, it is notable for its repetitive rhythm and sound block of percussion. For Antheil, time is more important than tonality. The work runs parallel to the Copernican turn of intellectual paradigm in the early 20th century. The co-influential relation between the two figures contributed to the creation of innovative art in both musical and literary spheres. 본 논문은 미국의 작곡가 조지 앤타일의 <기계적 발레>를 모더니즘의 조류 속에서 분석하는 것을 목적으로 한다. 1920년대에 파리의 아방가르드 경향에 접하게 되면서, 앤타일은 에즈라 파운드의 보티시즘을 인식하게 되었다. 미래주의와 유사성이 있는 보티시즘은 기계성에서 미학의 가능성을 찾았다. 이러한 혁신적인 사조의 영향 하에서 앤타일은 바이올린 소나타와 <기계적 발레>를 포함하는 실험적인 곡들을 작곡했다. <기계적 발레>는 페르낭 레제의 동명의 후기 입체파 영화의 배경음악으로 창작되었다. <기계적 발레>의 두드러지는 특징은 공장의 기계음과 유사한 기계적인 사운드를 전경화시키고 있다는 것이다. 반복적인 리듬이 강화되고, 비선율적인 타악기적인 화음의 블록이 대조된다. 앤타일에게는 음의 시간성이 성조보다 중요했다. 이 작품은 20세기 초 인식의 패러다임의 코페르니쿠스적 전환과 상응한다. 두 사람간의 상호작용은 음악과 문학의 양 쪽 영역에서 혁신적인 예술 작품의 창작에 기여한 바가 있다.

Sexualization of the Orient in Paul Bowles’s Let It Come Down

이협 현대영미어문학회 2013 현대영미어문학 Vol.31 No.1

This article is an attempt to analyze Paul Bowles’s Let It Come Down from a perspective of postcolonialism. American novelist Bowles is a stereotyped Orientalist. Staying in Morocco for about a half century, he wrote many fictional and nonfictional works on the formerly colonized region. In Let It come Down, the sexualization of the Orient is embodied most profoundly. The protagonist Nelson Dyar is drawn by the immanent forces of darkness and undergoes corruption. Eunice Goode, a marginal and deviant female, seeks Otherness. Both Dyar and Goode have relationship with a native Arab woman Hadija, a specimen of sexualized Oriental women. Through the relation with Hadija, Goode tries to resolve repressed desire. Goode’s observation of Hadija as an object exemplifies the Western gaze upon submissive Oriental women. Although Hadija wants to belong to the Western culture, she cannot be fully identified with Goode. As a typical Western male, Dyar pays money to have sex with Hadija. Hadija cannot escape from the bondage of the Western representation controlled by colonialism. By fetishizing Tangier, Bowles disseminates Orientalism. Later fictional works of Morocco, subservient or resistant to Orientalism, should be evaluated in relation to it.

윈덤 루이스의 「베스터」의 신체적 타자성

이협 원광대학교 인문학연구소 2013 열린정신 인문학연구 Vol.14 No.2

This article is an attempt to analyze the Otherness of Bestre's body inrelation to The Complete Wild Body by Wyndham Lewis. As a primitivebody compared to animals, Bestre has the most grotesque body amongLewisian characters in his corpus as well as the anthology. Its visualimage predominates in the story. As a Frenchman, Bestre is opposed tothe vanity of Anglo-Saxon viewpoint upon human bodies. Bestre mirrorsthe repressed unconsciousness of Kerr-Orr the narrator. Bestre isKerr-Orr's double upon which the narrator's latent deviant desire isprojected. With its appearance outside the prevailing convention, Bestreserves as a catalyst for awakening the narrator to perceive what hasbeen repressed in the dominant sphere of representation. As a grotesqueimage, he is representative of Lewis's perspective upon imagery. Bestre'sbody as the epitome of Othrness presents itself as an antitheses to thedominant value system. It is in line with modernist primitivism, whichBestre realizes as a much purer primitive body than other characterscombined with mechanical elements. Bestre demonstrates thedeconstruction of the pairs of binary opposition: male/ female,human/animal, normal/abnormal and sane/insane. Bestre's eye,representative of the corporeal state of his own body, is a weapon againstthe dominant representation system. He wages a battle of eye with theso-called enemies including a Parisian Salon artist and his wife, who arerepresentative of the vanity of people imbued with conventional ideas. Through Bestre, the narrator recognizes his real self-identity. Privilegingthe wild body of Bestre is denouncing the prevalent mechanizing trend of the early 20th century. Bestre contributes to Modernist primitivism.

Angel Island의 중국인 이주자들의 시에 나타난 문화적 갈등

이협 전북대학교 인문학연구소 2019 건지인문학 Vol.0 No.26

This article is an attempt to analyze Chinese immigrants’ poems on Angel Island during the period from 1910 to 1940. The island in San Francisco bay was a gate through which Chinese immigrants entered America. Many of them stayed there waiting for the result of inspection or deportation. They left poems on the walls of barrack. Many of the poems demonstrate negative viewpoints upon America. Poems in ‘The Voyage’ mainly express the expectation of economically motivated immigrants rather than describe the voyage itself. In ‘Detainment’ the poems express sorrow and anger. ‘The Weak shall Conquer’ provides poems that demonstrate the subversive desire of Chinese as weak people against the dominant structure of West. Poems in ‘About Westerners’ express antipathy to the Westerners treating Chinese without respect, especially doctors examining their bodies. They evince the cultural differences in viewpoint upon bodies. Poems in ‘Deportees, Transients’ express the feelings of those who are destined to return. The poems reflect the cultural shock of Chinese immigrants who are faced with the American culture in the international relationship. The works give a voice to the stereotyped silence of Asians who have been discriminated.

Queen Kong: 페미니즘인가 앤티페미니즘인가?

이협 동국대학교 영어권문화연구소 2014 영어권문화연구 Vol.7 No.3

<Queen Kong> is an inverted version of <King Kong> in terms of gender politics. A feminist film director Luce Habit, with Ray Fay a marginal male figure, goes to Lazanga on a ship named The Liberated Ladies representative of the emancipation of women. Crews in sensual clothes sing a song cherishing Germaine Greer the author of Female Eunuch. In the 1970s, Greer advocated the sexual freedom of women for the female liberation. She led the movement of burning bra, a commodity that has the implication of subjugating women to male control. Ray is devoted to Queen Kong worshipped by the villagers of Lazanga, a pre-industrialized space like Amazon. Queen Kong catches and protects Ray to fulfill her desire, which upsets the male dominant relationship in <King Kong>. In keeping track of Ray, Queen Kong is caught by Habit, and is brought to London. Queen Kong in a bra and panty made of chain is displayed in public. Queen Kong as a monster symbolizes colored people outside normality. Feeling jealousy of Ray led by Habit, Kong tears off the chain and frees herself, which implies the realization of burning bra. Ray chooses Queen Kong abundant with the Otherness instead of Habit. Queen Kong climbs on Big Ben, which is a blasphemy of the British heritage and thus the conventional value systems aligned with the male superiority. Ray gives a feminist speech to defend Queen Kong representative of historically persecuted women. Awakened by Ray's message representing the contemporary feminist issues, women, including notably prostitutes, make a concerted effort to save Queen Kong. In that Queen Kong as the agent of feminism is trapped in the image of abnormality and prostitutes engage in the feminist rally, there seems to be an anti-feminist intention to debase feminism. In the long run, Queen Kong peacefully returns to Lazanga, which declares the victory of feminist values. Although superficially advocative of feminism, <Queen Kong> undeniably satirizes and thus trivializes feminism ambivalently.

해항도시 ‘탕헤르’ : 폴 보울즈의 소설에서의 미로 공간

이협 한국해양대학교 국제해양문제연구소 2013 해항도시문화교섭학 Vol.0 No.10

Satire of Christianity in The Romance of Reynard the Fox

이협 원광대학교 인문학연구소 2008 열린정신 인문학연구 Vol.9 No.1

구전된 설화를 바탕으로 하는 『여우 레이나드의 로맨스』는 로맨스와 우화가 결합된 유형이다. 주인공인 레이나드는 전형적인 여우의 이미지에 어울리는 교활한 유형으로서 여러 가지 악행을 끊임없이 저지른다. 마키아벨리적인 그의 악행들은 특히 중세의 기독교에서 금기시하는 7가지의 치명적인 죄악들에 해당한다. 7가지 죄악은 교만, 시기, 분노, 나태, 탐욕, 식욕과 색욕이다. 레이나드는 특히 식욕, 교만과 분노를 통제할 수 없다. 그의 죄악들은 단순히 부정적인 시각에서 묘사되는 것이 아니라, 당대의 지배가치에 대한 풍자, 조소와 비난의 계기를 제공한다. 종교의 위선과 권위에 대한 역설적인 풍자가 핵심을 이루고 있다. 레이나드가 사형을 면하기 위해 거짓 참회를 하고 사제가 되면서 기독교와 깊숙이 연관된다. 욕구를 억누르지 못한 채 수도원에서 살인을 포함하는 악행을 거듭하며 그는 신성모독적인 언행을 일삼는다. 그는 인간의 본성과 종교의 모순을 드러내는 역할을 한다. 레이나드는 은자의 권고로 일행들과 함께 교황을 알현하려는 목적으로 로마를 향해 출발한다. 여정 도중에 그들은 싸움에 휘말려 살해까지 저지르게 된다. 자신들의 종교적 신념이 부족한 것을 정당화시키며 그들이 도중에 귀환하는 폭력으로 물든 이 여정을 순례라고 칭하는 것은 해학적이다. 고양이 티버트가 십자가위에서 레이나드를 역설적으로 조롱하며 육류의 내장을 먹는다. 기독교의 상징인 십자가에서 이처럼 불경한 상황이 발생하도록 설정하는 것은 종교적 위계질서와 가치체계를 상징적으로 전복시키는 것이다. 종교회의로 향하던 두 명의 승려가 십자가위의 티버트를 발견하고는 잡으려고 시도한다. 종교적 신성함의 훼손에 관심을 기울이지 않는 그들의 목적은 고양이 털로 옷을 만드는 것이다. 물질적 욕구를 추구하는 그들의 대화는 성스러운 기독교의 이미지와 상반된 내용으로 기독교가 도구화, 세속화되어 있다는 것을 드러내준다. 티버트에게 패한 후 그들은 종교적 엄숙함을 위해 사용되는 찬가를 부른다. 사소한 사건과 거창한 행위를 결부시키는 것은 희극의 주요한 기법이다. 레이나드가 복수의 대상인 농부 대신에 그의 수탉을 희생시키려는 것을 신의 이름하에 정당화하려고 한다. 종교와 지배체제와의 연관성이 드러난다. 그가 자신의 시각에서 종교를 해석하는 것은 종교를 외부적인 관점에서 전유하려는 성향을 반영한다.

Embodiment of Vorticism in Ezra Pound's Poetry

이협 한국현대영어영문학회 2007 현대영어영문학 Vol.51 No.1

This article attempts to analyze Vorticism embodied in poems by Ezra Pound, the co-founder of the art movement. The avant-garde movement is primarily characterized by identical patterns coexistent in various kinds of arts including literature, painting, music and sculpture. The crucial term primary pigment indicates writing’s approach toward the condition of painting. Pound has tendency to privilege visual form’s signification beyond the limitation of conventional language. The orientation toward corporeality is compatible with the principle of creating poetry in Imagism. Poetic language fully charged with meaning can realize maximum intensity. A Chinese letter chung (center) similar to the vortex in shape illustrates the masses in relation. The incorporation of the hieroglyphs and Chinese letters can compensate for limit in the material quality of English.