A Voyage of Speech from Prison to Truth

장정우 연세대학교 영어영문학회 1998 영어영문학연구 Vol.20 No.-

In Phaedo, Plato describes how Socrates, surrounded by his disciples, faces his death. Plato carefully selects his mouthpiece in relation to the theme of this work. Usually Plato's dialogues are developed by Socrates himself, except a few among which Phaedo is included.1) In Phaedo, the story is narrated by one of Socrates's disciples. It is noticeable that the title of this work is named after the narrator. Why does Plato make Phaedo narrate the last conversation of Socrates prior to his death? It is not by accident that Plato chooses Phaedo as narrator. Considering the importance of narrating Socrates's death, there should be a good reason for this decision. On the other hand, in this dialogue, the images of prison and voyage recur throughout the work. I will try to explore how effectively the narrator weaves the images into the text to show the theme of Phaedo.

The Wanderer : "bindan"의 의미

장정우 연세대학교 영어영문학회 1992 영어영문학연구 Vol.14 No.-

고대 영어로 쓰여진 영시 중에서 뛰어난 elegy를 손꼽아 본다면 그 첫번째는 The Wanderer가 될 것이다. 그 이유는 여러가지가 있겠지만, 한마디로 말해서 고대 영어의 진수를 유감없이 보여 주기때문이라 할 수 있다. 이 작품은 내용면에서 볼 때 처음부터 끝까지 일관된 주제를 갖고 이야기가 전개된다. 동일한 의미의 어구가 반복되어 나타날지라도 독자가 지루함을 느끼지 못하는 것은 작가의 표현 양식이 상당히 다채롭고, 상황 전개에 있어서도 극적인 효과를 사용하고 있기 때문이다. 시인은 현실감 있고 객관적인 상황을 만들기 위해 수명의 speaker를 등장시킨다. 물론, 여기에서 제일 중요한 speaker는 Wanderer자신이며 특히 그의 의식속에서 벌어지는 내면적인 갈등은 이 시의 요체라 할 수 있다.시인은 이 작품 전체에 걸쳐 "bindan"이라는 말을 의식적으로 또는 무의식적으로 여러번 반복한다. 궁극적으로 이 단어는 인간과 자연 그리고 신과의 상호 관계를 가장 밀접하게 연결시켜 주는 의미로 사용되고 있으며 그것은 시각적인 image 및 청각적인 image가 다채롭게 사용되는 가운데 더욱더 선명하게 부각되어 나타난다. 더욱이 Anglo-Saxon특유의 운율이라 할 수 있는 alliteration이 작품 곳곳에 등장해 그 소리와 의미가 하나로 합쳐져 그 효과를 배가 시키고 있다.이처럼 작품에 나타난 주제에 걸맞게 그 구성면에서도 일관성있게 잘 짜여져 있으며 다양한 표현 기법에 의해 독자의 마음 속에 강한 여운을 남겨 줄 수 있는 The Wanderer가 고대 영시의 가장 빼어난 elegy가 되는 것은 당연한 귀결이라 하겠다. 그러면 이 작품을 하나하나 분석해 가며 일관된 주제가 무엇이며 "bindan"이라는 단어는 신, 인간, 그리고 자연과의 상호 관계에서 어떤 역할을 하는지 그리고 이것을 효과적으로 전달하기 위해 어떤 표현 기법이 사용되고 있는지를 살펴 보겠다.

Frost in a Haunted House: Images of Frost in Emily Dickinson’s Poems

장정우 한국현대영미시학회 2020 현대영미시연구 Vol.26 No.1

In most of her poems about nature, Dickinson portrays the creatures and the phenomena around the world about us. The world of nature is hauntingly mysterious enough to attract our attention. In spite of nature’s greatness, Dickinson also emphasizes the greatness of representing nature in poetry. Her desire lies not in literal representation of nature, but in interpretative representation of nature in her peculiar way. Dickinson’s nature is a projection of her mind into nature through her creative power. One of the important words used in her nature poems is frost which plays a significant role in her writing. In particular, Dickinson writes many poems about frost in connection with flowers. Dickinson’s attitude toward frost deserves our attention because she assigns a consistent image and meaning to the natural phenomenon in her writings. This essay aims to show how Dickinson reads nature in relation to her poetic self and how and why she portrays frost or frost images in her poems.

부재의 재현-이미지를 통한 언어의 한계성 극복

장정우 19세기영어권문학회 2007 19세기 영어권 문학 Vol.11 No.2

JangLanguage is a tool by which human beings communicate their ideas and experiences and develop their thought and knowledge. Language functions as a sign by which we can recollect our past, describe our present, and project our future. The Prelude, the autobiography of a poet's imagination, repeatedly makes us meditate on linguistic structure whose fundamental structure is based on metaphorical procedure. In Book 7 of The Prelude, he not only contrasts spoken and written language, but also combines voice with letter. Letters and signs are floating signifiers. In the metaphorical sense, signifiers carry no inherent meanings, but substitutive meanings are determined by social convention. After experiencing the limitation of language, the poet transforms the reality of London into a panoramic picture. Wordsworth does not describe the idea or message, but only offers images in the spacious canvas of London. In the poem, readers are obsessed with images of the crowded London streets. Images that move from signifiers to signifiers rather than from signifiers to signifieds are “outside language” and “nonlinguistic language.” To put it another way, images are less metaphorical yet more literal when they are read in texts. The poem never speaks vocally but speaks only through images.

에머슨의 『자연』에 나타난 영(靈) 유출과 유입

장정우 19세기영어권문학회 2002 19세기 영어권 문학 Vol.6 No.2

고농도 MLSS에 적합한 자유말단형 MBR 시스템의 운전 평가

장정우,김경일,박민수 한국막학회 2016 한국막학회 총회 및 학술발표회 Vol.2016 No.05

일반적인 MBR공법의 경우 허용한계 이상의 고농도 MLSS에서 운영되면 막오염이 급격히 발생된다. 이는 슬러지 케익 축적이 원인이며 이로 인해 분리막 회복을 위한 빈번한 세정이 적용되어야 하고 그 결과 운영비 증가 및 분리막 수 명이 단축된다. 본 연구에서는 (주)에코니티의 자유말단형(End-Free) 분리막을 이용한 MBR 시스템 운전을 진행하였다. 분리막 모듈의 구조적인 특성으로 슬러지가 쉽게 탈리되어 케익의 축적이 발생하지 않아 고농도 MLSS에서도 적용가능함을 확인 하였다. 이에 따라 운전 플럭스를 상향시킬 수 있었고 장기 운전을 통하여 막여과 시스템의 안정운영을 평가하였다.

Conversation between Leaves of Grass and Thus Spoke Zarathustra

장정우 한국동서비교문학학회 2016 동서 비교문학저널 Vol.0 No.38

Seemingly there are no convergences between Walt Whitman and Friedrich Nietzsche because the former focuses on the common people or the masses while the latter is interested in a few elite. Whitman’s Leaves of Grass, however, shares a lot of similarities with Nietzsche’s Thus Spoke Zarathustra. It is interesting to notice that there are convergences between an American poet and a German philosopher of the 19th century. But it is not surprising that they yield some resemblance because they have been influenced by Ralph Waldo Emerson. It is very helpful to use Michel Foucault’s notion of history to connect Whitman and Nietzsche. According to Foucault, history is made of emerging events rather than inheritance of the past. Both Whitman and Nietzsche focus on the present rather than the past, arguing that we should obey the laws we have formulated for ourselves. They perceptively know that each individual has his own thought, and that each age should reformulate its own truth. We can notice parallels in their thought of and expression on self-reliance and their defiance of conventions and tradition. Whitman’s Leaves of Grass and Nietzsche’s Thus Spoke Zarathustra are also compared in terms of the body, divinity, the good and evil, death, woman, friendship, and the state to find out convergences and divergences between the two literary works.

Modified Mythological Figures, Theseus’ Character, and Patriarchal Power in A Midsummer Night’s Dream

장정우 한국셰익스피어학회 2018 셰익스피어 비평 Vol.54 No.3

A Midsummer Night’s Dream includes relatively many characters related with Greek elements such as Greek mythology and history. The main characters in the play such as Theseus, Hippolyta, Egeus, Helena, Lysander, and Demitrius are borrowed from Greek mythological or historical figures. It is quite interesting to notice that Shakespeare employs Greek mythological and historical characters in various ways. First, some theatrical characters in the play take after mythological heroes. Then, other theatrical figures are from historical characters who are involved in Greek history. Additionally, several mythological stories or characters are used to combine elements of Ancient Greece with those of Renaissance England. Shakespeare craftily creates his theatrical characters by changing the specific features of the original mythological figures. For example, on one hand, some theatrical characters may represent original mythological figures, on the other hand, others appear as slightly or totally different characters. There is a correlation between theatrically modified characters and Theseus’ changing attitude toward patriarchal culture. This essay examines how mythological characters are transformed in A Midsummer Night’s Dream in terms of reading Theseus’s changing attitude and behavior in relation to patriarchal power.

Ontological Violence: “Ambiguous Undulations” between “Sunday Morning” and Sunny Day’s Morning

장정우 한국영어영문학회 2010 영어 영문학 Vol.56 No.3

In his early poems, Wallace Stevens shows us different gestures, compared with his later poems, when he acquires reality by faculty of imagination. The former is made of ontological violence while the latter is revealed by bareness of less sensuality. However, they are the identical gestures, though from different angles, to accomplish things as they are rather than the ideas of things. In “Sunday Morning,” ontological violence occurs in such epistemological couples as thought and thing, mind and world, and imagination and reality. Especially, in order to recuperate his poetic reality, Stevens undermines the traditional hierarchy between heavenly divinity and earthly divinity. In the poem, Christianity faces a critical challenge and then it is disempowered by the earthly divinity. Additionally, by disadvantaging religion, he wants to raise his poetic issue of the faculty of imagination to acquire reality. Stevens’ concept of imagination is less subjective and more transcendental than Kantian one. After the ontological violence, Christian divinity and mythic gods leave ontological boundary for earthly divinity in an ambiguous way. In other words, between “Sunday” and “sunny day,” the ontological conflicts haunt us throughout the poem as if the violence would happen between imagination and reality. For Stevens, both Christian divinity and mythic gods are mere obstacles to real divinity; both play a mere role of imagination before reality is revealed. Whatever reality is, imagination is always ready to draw an ontological line of reality in an ambiguous way,regardless of how long it lasts. In general, most ontological violence requires such physical remnants of conflicts as borderline, deaths, and pains which still prevail in the poem. Those ontological remnants remain to be found on earth. The sky is an abstract borderline between heaven and earth because in a sense, it belongs to both earthly landscape and heavenly sphere. Without any ontological borderline or threshold, there is no recognition of the divinity because the vitality of divinity is inflamed in continuous transgression of the other. After the final ontological conflict between heaven and earth,there remains only ambiguous borderline near the earth beside the friendlier sky.

Whitman’s Strategy of Cultural Independence through Reterritorialization and Deterritorialization

장정우 한국영어영문학회 2009 영어 영문학 Vol.55 No.3

Culture as “a source of identity,” as Edward Said says, can be “a battleground” on which “various political and ideological causes engage one another.” It is not mere individual cultivation or private possession, but a program for social cohesion. Sensitively aware that a national culture should be independent from Europe, Walt Whitman enacts a new form of literature by placing different cultural values against Old World tradition. His interest in autochthonous culture originates from his deep concern about national consciousness. He believes that literary taste directed toward highly-ornamented elite culture is an obstacle to cultural unification of a nation. In order to represent American culture of the common people, Whitman incorporates a lot of cultural material into his poetry. Since he believes that America has many respectable writers at home, he urges people to adjust to their own taste instead of running after foreign authors. Whitman differentiated his poetry from previous literary models by disrupting the established literary norms and reconfiguring cultural values on the basis of American ways of life. In his comment on other poets, he concentrates on the originality and nativity of poetry. By claiming that words have characteristics of “nativity, independence, and individuality,” he envisions American literature to be distinguished from British literature in literary materials as well as in language. Whitman’s language is composed of a vast number of words that can fully portray the nation. He works over language materials in two ways: reterritorialization and deterritorialization. Not only does his literary language become subversive of the established literary language, but also makes it possible to express strength and intensity in feeling.