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Wallace Stevens 시의 특성과 새로운 모색 : 禪詩的 요소
韓泰鎬 관동대학교 1999 關大論文集 Vol.27 No.1
The poetry of Wallace Stevens is the meditative poetry, which requires some new intelligence, different from the general Western approach. As part of a comparative literature study. I propose that his poetry has a lot of affinity with the Eastern poetry in general, especially Zen poetry. Zenistic critical approach is recommended for his self-conscious poetry, rhetorical poetry, and disjunctive poetry. Thus, I illuminate some lights on his poetic features, general conventional critical ideas on his veiling poetry, and then the applicability of Eastern ideas on his abstraction. His central ideas, such as First Idea. Decreation. Abstraction. Majorman or Subman. Reality vs Imagination. etc. has been compared with the affinitive ideas in Zenistic poetry. I majorly focus on his main methaphor of Nothingness or nakedness, and the supreme idea of Zen as well. I read closely Section 8. "Notes Towards a Supreme Fiction" to detect the cursive process of his basic idea on the highest mental entity and "A rabbit as King of the Ghosts" to compare his temporality and oriental feelings. The critical terms in Zen buddhism were introduced into his poetics for better understanding: Resultantly, his poetic estheticism might be somewhat ignored in the process of criticism. Anyhow, the philosophical generality in West and East could be lexicalized into a critical aphorisms for better convenience. Further stylistic as well as poetic study will be advisable for clear illucidation of insights to share Stevensean innate ideas with ours.
現象學을 통한 Yeats 시 해석 : “Per Amica Silentia Lunae”의 철학적 시 배경
한태호 한국예이츠학회 2000 한국예이츠 저널 Vol.14 No.-
Poetical revealation of Yeats’s philosophical ideas can be spurred through the phenomenological insights. Its textual practices into Yeats’s poetic totality could open an entrance towards his poetic Tower in his visionary poetic geography. With help of many literary or poetical representations in his poetic universality, some signifiers can be converged to the common inflections, such as intuition, reduction(epoche), Pure Consciousness, life-world, etc. The “Indira’s network” has been spread for the poetics and praxis of E. Husserl’s Phenomenolgy and Yeats’s “Per Amica Silentia Lunae,” one of his philosophical manifestos. Yeats’s enigmatic domains in his poetic suliminal consciousness. such as immediate felt images, ironical rethorics, primitive intellect, incarnated phenomenality, could be illuminated by the reductionary ideation and intentionality, bracketing of Phenomenology. Yeats’s ‘Anima Hominis’ and ‘Anima Mundi’ in “Per Amica Silentia Lunae” has shown the similar process of Epoche-like ideation. His visionary dogmas has traced the same epistemalogical traits of the Phenomenology. The categorial intuiting of the outside phenomenal objects could be the same on the basis of “suspension of belief” either poetically or philosophically. Yeats’s cognitive acts is not so different from Husserl’s in the sense of “Going back to the pure consciouseness.” Their formality and terminology might be distinguishable but the basic ideas show the similar principles on the authentic reality(external and internal). His somewhat visionary solipcism could be elucidated by the ideas of intersubjectivity, monadology, inference by analogy in Phenomenology. Yeats’s “A Tenedo tacitae per amica silentia lunae,” thoghtful sedimentation, gradations of perceptual shading in the Vision, eidectic reductions of moon phases, are all the reflections of intentionality of his poetic muses. His “arrow women” into the “boundless and unpredictable world” are the metonymy of “Reduction into the Essences.” His actual and ideal aphorie, pure ego, soul duality shows the three processes of description, intuitive expression of consciousness, and symbolic significations, so oftentimes found in the phenomenal ideas. These insights could lead to the light-shedding onto the comparative study of Zen ideas.
Yeats 시의 동양적 象數 비교: A Vision의 수적 상징
한태호 한국예이츠학회 2001 한국예이츠 저널 Vol.16 No.-
Numbers have the physical and spiritual symbols by abstracting and emptying themselves. They develop from the fundamental elements into many animations, personalities, signs, emanations, and at last literary symbols. As a result, the poetical spirit or visions of Yeats in A Vision could be integrated in the numerical symbols of 1, 2, 3, 4, and their muliplications. The fundamental numbers seem to extend their symbolism into other multiplied numbers, especially 28 phases of the moon. Number One in his poetry frequently symbolizes the Causal Body, Origin, and Divine Basis. Number 2 signifies the duality, the harmony of concord and discord, or various opposing elements. Three reveals the uniting/solving process of conflicting duality. It insinuates the figurations of peace or harmony. Number 4 induces the peaceful world of the triangle-like Number 3 into the inner worlds of men. Yeats used to devide the human animations into 4 faculties. Number 4 is the reflection of the division of the Number 2(duality). From the basic numbers, all the poetic combinations can be implicated into the new, novel, personal symbols. His cosmological symbols and numerology in A Vision can be closely related to the Eastern world view and cosmological human nature. Especially, his poetic theory of “Unit of Being” doesn’t show the faculty of Number Zero, nothingness or stillness, or the Eastern emptiness. It rather show the state of fullness, fullness of Western Intellect. To understand how much the numerological conceptions are resolved into his poetry, we have explicated one of his poetry in A Vision.