환난의 바람

김명혁 신학지남사 1980 신학지남 Vol.47 No.1

이원론에 입각한 이상적인 남녀관계 연구 : Sons and Lovers, The Rainbow, Women in Love를 중심으로

金明奕 新羅大學校 1986 論文集 Vol.21 No.-

As Daleski says, "the central feature of Lawrence`s thought is dualism." The idea informing the theory is that of wholeness of being, which is seen to depend, not on a comprise, or even a wise cooperation between head and heart, but on a dynamic opposition and vivid electric flow of energy between the poles within one human being or between the individual himself and other individual concerned in his living; or between him and his immediate surroundings. As presented in Sons and Lovers, formation of his lilerary thought was deeply influenced by Lawrence`s family life in childhood. Feuds and tension between his parents provided him with a motive of research on polarity, the pursuit of which led him into dualism. It became the basis of his literary thought materialized in his novels as "the Crown" or "star-equilibrium" the state of which he considered an ideal relationship between man and woman. Lawrence`s early masterpiece, Sons and Lovers is an autobiographical novel with strong attraction and appeal. It chiefly deals with Paul`s growth process on the basis of Lawrence`s own tragic past, and three destructive forms of love-oedipal, spiritual, and physical. These are well dramatized in this novel, and his dualistic ideas are successfully systemized in it. The importance of Sons and Lovers lies in the fact that this novel acts as a catharsis of Lawrence. Through this novel, he leaves his tragic past behind him and meets a new turningpoint of pursuing ideal relationships between men and women based on dualism. The theme of The Rainbow is the exploration of the relationships between men and women. The love relationships between Lawrence and Frieda Lawrence to explore the true principle of love. A world of his complete imagination or concrete experience which went through the whole soul and body not only renewed his strength and vitality but also led him to the creation of novels in which he made his best efforts to build up an ideal relationship between man and woman. The distinctive offer of The Rainbow is to render the development of male-female relationships-the complex change from generation to generation and inter-weaving of the generation through three couples` love relationships-Tom-Lydia, Anna-Will, and Ursula-Anton. By the time the novel ends, Ursula has suffered the disillusion of failed relationship and is ready to build her life anew on a living fabric of Truth which the rainbow symbolizes for her. It is left to Women in Love, the novel which follows to show her in a more ideal and more lasting relationship. The main theme of Women in Love is developed by two contrasting relationships. If the relationship between Birkin and Ursula embodies man`s Gudrun represents the case of disintegration: their relationship is most poignantly developed into violence and death. Gerald and Gudrun cannot have independent inner being and escape to the purgative sexuality from the voidness of outer life, so that their relationship becomes destructive. What Birkin wants is a star-equilibrium, a balance of opposites, that is, a balance of two single beings. This balance is a profound and permanent bond between a man and a woman which still leaves them separate and independent. Birkin achieves an ideal relationship with Ursula-star-equilibrium. As a result of the ideal relationship between them, a stronger intuitive sense of human suffering and joy develops, leading to advancement in their creative life, and fulfilment in their marriage gives them peace and inner security. These peace and security will leave Birkin free to act and to pursue his new creative world as a real independent man. It may be thought that Women in Love is Lawrence`s own autobiography of mentality and daydream when he was undergoing the most serious conflict in life. But he obviously presented to us a new vision that an ideal relationship between man and woman based on dualism will give us everlasting peace and vitality to pursue a new creative life.

나의 사고와 삶에 깊은 영향을 끼친 한철하 박사님

김명혁 아세아연합신학대학교 2004 ACTS 神學과 宣敎 Vol.8 No.-

잠자는 미녀 : The Princess

김명혁 동아대학교 인문과학대학 영어영문학과 2002 동아영어영문학 Vol.18 No.-

Mary Henrietta Urquhart, the Sleeping Beauty, is a typical heroine in The Princess. Her mother calls her "My Dollie," a name suggesting, as in Ibsen, possession of the plaything rather than love of the person, and her father calls her "My Princess," a title with multiple allusions to "aristocracy of birth, social snobishness, and the unreality of romance." Her father, Colin Urquhart, thinks he and his daughter are the only Scottish royal family and tells her never take too much notice of people and things they say and do. Brought up in splendid isolation by her crazy father, she becomes "impervious as crystal." Therefore, her sexual consciousness ins never awaken, and is unable to regard passionate relationships with anything except a kind of incredulous revulsion. She can never understand "the volcanic phallic rage" with which coarse people can turn on her in a paroxysm of hatred. She is "not quite a woman "but" a changeling of some sort." After her father dies, Dollie, 38 years of age, comes to a dude ranch in New Mexico with Charlotte Cummins, her father's nurse-companion, assuming that marriage is her goal. The Sleeping Beauty, Dollie, encounters her dispossessed and fragmented Prince, Domingo Romero, the son of an old San Christobal family of Spanish landowners who, as the results of their own inertia and the invasion of the white men, have become mere of their own inertia and the invasion of the white men, have become mere Mexican peasants. The heir, Romero, apparent to this ruin works as a guide on the ranch. Not surprisingly, Dollie conceives a desire for Romero to fulfill, in relation to her, both is literal and symbolic functions as guide. A vague, unspoken intimacy develops between Dollie and Romero. She makes an expedition with him into the Rocky Mountains which isolates the virginal white woman with the savage man. The conclusion of the tale is purely Lawrentian in its account of a deathly kind of power struggle between a man and a woman who are attracted to each other. In the intense cold and thick oblivious darkness of the night, she awakes in a conflict of emotions and desires : she wants warmth, protection, to be taken away from herself; and at the same time she wants to keep herself intact, untouched, letting no one have any power or rights over her. At last Dollie wills Romero to take her, ostensibly to warm her. Next morning she insists that they return again at once, back to the world of people. He is deeply humiliated and insulted by her wilful self-sufficiency and intactness. He imposes his will relentlessly on her, but she is stony and absolute in resistance to the last. He behaves like madman until he is shot by one of the men who are searching for her. He can't conquer her, but he has roused part of which she does not wish to realize. The battle of wills destroy both of them---Romero is shot, the princess, left "not a little" mad, remains a Sleeping Beauty though she marries her father-like elderman later. Symbolically, through her marriage to a much older man, Dollie remains the Sleeping Beauty permanently.

잠자는 미녀 : The Princess

김명혁 新羅大學校 1997 論文集 Vol.43 No.-

Mary Henrietta Urquhart, the Sleeping Beauty, is a typical heroine in The Princess. Her mother calls her "My Dollie," a name suggesting, as in Ibsen, possession of the plaything rather than love of the person, and her father calls her "My Princess," a title with multiple allusions to "aristocracy of ,birth, social snobishness, and the unreality of romance." her father, Colin Urquhart, thinks he and his daughter are the only Scottish royal family and tells her never take too much notice of people and things they say and do. Brought up in splendid isolation by her crazy father, she becomes "impervious as crystal." Therefore her sexual consciousness is never awaken, and is unable to regard passionate relationships with anything except a kind of incredulous revulsion. She can never understand "the volcanic phallic rage" with which coarse people can turn on her in a paroxysm of hatred. She is "not quite a woman" but "a changeling of some sort." After her father dies, Dollie, 38 years of age, comes to a dude ranch in New Mexico with Charlotte Cummins, her father's nurse-companion, assuming that marriage is her goal. The Sleeping Beauty, Dollie, encounters her dispossessed and fragmented Price, Domingo Romero, the son of an old San Christobal family of Spanish landowners who, as the results of their own inertia and the invasion of the white men, have become mere Mexican peasants. The heir, Romero, apparent to this ruin works as a guide on the ranch. Not surprisingly, Dollie conceives a desire for Romero to fulfill, in relation to her, both his literal and symbolic functions as guide. A vague, unspoken intimacy develops between Dollie and Romero. She makes an expedition with him into the Rocky Mountains which isolates the virginal white woman with the savage man. The conclusion of the tale is purely Lawrentian in its account of a deathly kind of power struggle between a man and a woman who are attracted to each other. In the intense cold and thick oblivious darkness of the night, she awakes in a conflict of emotions and desires : she wants warmth, protection, to be taken away from herself; and at the same time she wants to keep herself intact, untouched, letting no one have any power or rights over her. At last Dollie wills Romero to take her, ostensibly to warm her, Next morning she insists that they return again at once, back to the world of people. He is deeply humiliated and insulted by her wilful self-sufficiency and intactness. He imposes his will relentlessly on her, but she is stony and absolute in resistance to the last. He behaves like madman until he is shot by one of the men who are searching for her. He can't conquer her, but he has roused part of which she does not wish to realize. The battle of wills destroys both of them ---Romero is shot, the Princess, left "not a little" mad, remains a Sleeping Beauty though she marries her father-like elderman later. Symbolically, through her marriage to a much older man, Dollie remains the Sleeping Beauty permanently.

초대교회에 일어난 분파운동 -도나티스트 운동을 중심으로-

김명혁 신학지남사 1980 신학지남 Vol.47 No.1

D.H.Lawrence의 文學思想에 관한 硏究

金明奕 新羅大學校 1989 論文集 Vol.28 No.-

D. H. Lawrence's literary thught, as embodied in his essays and novels, does not have a fixed, complete form. It is a developing thought, changing step by step in the novels as it shapes in his creative imagination. It is in this sense that L.twrence's novles are a record of his life and thought-adventures. The formation of his literary thought is deeply influenced by his life with his parents and his wife Frieda and by early Greek Philosophers, especially by Heraclitus. The most striking feature of Lawrence's literary thought is its dualism. In his essay 'Study of Thomas Hardy', he sets out the concept of duality in terms of the male and female principles, like the Eastern concept of the Yin and the Yang, insisting that all creativity is dependent on the fruitful interaction of the two principles. Lawrence calls the ideal state of balance between the two principles Arch. Rainbow, Crown, Star-equilibrium the Plumed Serpent, and so forth. This dualism is materialized as "fullness of being" in his novels. Lawrence's lifelong purpose was to realize "fullness of being", as expressed in one of his essays. "Fullness of being" leads to a state of perfect sel-fulfilment by reconciling the male and the female principle. It is pursued either within one human being, between the individual himself and another individual involved in his life, r between himself and his immediate surroundings, the cosmos. In this study, I have undertaken a detalied critical analysis of Lawrence's five major novels-Sons and Lovers, The Rainbow, Women in Love, The Plumed Serfent, and Lady Chatterley's Lover-on the basis of his literary thought in order to trace ow he pursues "fullness of being" step by step in each novel. Lawrence's early masteriece, Sons and Lovers, a well-know autobiographical novel, deals with the tragic experiences of Paul's youth due to his mother's influence. Owing to her dominance over him, he fails in two kinds of love affairs: a spiritual love with Miriam and a physical love with Clara. In the end, he realizes that what h is searching for is the more lasting satisfaction of a union of spirit and flesh. In short, Sons and Lovers gives an account of the first important stage in man's struggle to attain "fulness of being". The Rainbow deals with three types of relationships between men and women through three generations, and pursues different kinds of "fullness of being" according to the flux of time following the pattern of the relationship between Lawrence and his wife, frieda. Of the three generations. "fullness of being" is most successfully achieved by Ursula. In a sense The Rainbow was written for Ursula. Ursula goes through all kinds of hardship as a "female Quixote" and comes to be in full maturity. The rainbow appearing to her in the end symbolizes her "fullness of being" and hope and promise of meeting an ideal man to marry her in the future. The main theme of Women in Love is developed by two contrasting relationships. If the relationship between Birkin and Ursula embbodies man's struggle in the modern world to survive its general disintegration, that between Gerald and Gudrun represents the case of disintegration: their relation is most prognantly developed into violence and death. Lawrence's thesis in Women in Love is evident: without the balance between the male and female, no "fullness of being" is achieved. But the balance does not mean an easygoing union or a state of cease-fire between two forces. They are not merely contrasted with each other, they are in active opposition. This is well metaphorized in the essay of 'The Crown' which Lawrence has presented to show the proper relationship between the two principles. The Plumed Serpent is the representative of Lawrence's male leadership novels. Lawrence's "dark God" is embodied in the ancient Mexican God, Quetzalcoatl. He seeks to pursue his ideal utopia, "Rananim", in this novel through the influence of Quetzalcoatl. The central emblem of Quetzalcoatl consists of an eagle clutching an encircling serpent. The symbolism is of simultaneous opposition and interdependence between the male and female. This image of dualism recalls both the lion-unicorn opposition of the 'The Crown' and the function of the rainbow arch as a symbol in The Rainbow. Kate, who came to Mexico to get free of the detestable Europian mechanization, recondiles her male dominant principle with her female principle by taking interest in the life of Mexican primitives and by taking part in the Quetzalcoatl ritual which is performed by Romon. In the course of time, she is finally convinced of one thing: "that the clue to all new life lies in the vivid blood relation between man and woman." Thus she makes up her mind to get married to Cipriano and live in Mexico. In short, her pilgrimage is a psycic journey towards "fullness of being." Lawrence tries to pursue his utopia by Quetzalcoatl. But his thought-adventure does not come true because it can hardly come true in reality in the Western world. After writing this novel, he recognizes his failure and promises to write another novel based on some sort of balance between man and woman. Lady Chatterley's Lover, like the other former novels, concerns the attainment of "fullness of being." Connie and Mellors find their "fullness of being" through the harmony of sharing together. Both of thems eek to regenerate by escaping their past. Each of them seeks relations in which tenderness, physical passion, and mutual respect all flow together. Though they go through many hardships in their relationship, they eventually promise to start a new life together. In Lady Chatterley's Lover, Lawrence especially puts emphasis on the importance of sex. To him, sex is not a mere function of precreation, nor a simple means of pleasure, but " the fountainhead of our energetic life", that is, "the great unifier" providing "life-force" for us to maintain a free and sound relationship between man and woman. Sex is also a very important medium in the mutual resoponse between man and the cosmos. It is a part of his peculiar creed to advocate the revival of humanity thrugh sex. After being revaluated since 1960, Lawrence's works have become very popular among a great number of readers and critics. Although his literary thought is more or less contradictory and egoistic, we should set high value on hi attempts to establish ideal relationships between men and women on the basis of dualism in the unbalanced modern world, and his explorations into the unknown world to pursue "fullness of being" with faith and courage.

박윤선 신학에 있어서의 고난의 의미

김명혁 합동신학대학원대학교 출판부 1989 신학정론 Vol.7 No.2

90년대 한국 교회에 대한 교회사적 전망

김명혁 합동신학대학원대학교 출판부 1987 신학정론 Vol.5 No.2

The Captain's Doll에 나타난 두 형태의 남녀관계

김명혁 新羅大學校 1996 論文集 Vol.41 No.1

The Captain's Doll, written in the autumn of 1921, deals with two modes of relationship based on the structure of a triangular relationship. The one mode of relationship develops between Captain Hepburn and Countess Hannele on the basis of conventional and remantic love. Alexander Hepburn, a captain in the British occupation forces at Munich in Germany, has Countess Hannele as his mistress who earns her living by making dolls with her friend, Baroness Mitchka. Attracted his magic power, she was bound to love him. She is a skilled maker of dolls and the one she makes of the Captain in his tight tartan trews is a masterpiece. Word gets to the Captain's wife, Mrs. Hepburn, in England that someting is going on with her husband. The first triangular relationship becomes sharp as soon as Mrs. Hepburn steps in to interfere with their relation in order to settle her husband's matter. She mistakenly concludes that Hannele's friend. Mitchka is her husband's lover and becomes acquainted with Hannele. She also wants to buy her husband's doll as a token of a servant of woman. Under the circumstances that are not clear, Mrs. Hepburn falls out of a third-floor window of the hotel and is killed. Captain Hepburn, as last free, retires from the army and leaves Germany, losing touch of Hannele. For a few months he breaks with friends and acquaintances and maintains his aloneness. In due course he makes up his mind to make a new mode of relationship with Hannele not on the basis of romantic love but of honour and obedience and sets out to find her. In Munich he sees his doll replica of himself in a shop window. It is sold before he can make up his mind to buy it. The doll turn up later depicted in an avant-garde still life o sunflowers and a poached egg. He buys the picture and leaves the place to find her. The second triangular relationship becomes sharp when Hepburn finally finds Hannele at a lake resort in the Austrian Tyrol and makes a proposal of marriage to her. She is then taken engaged to an old Austrian local governor, the Herr Regierungstrat, "a witty, gallant old Roman of a man." whose chief attraction to her is that he makes her feel like "a queen in exile." This time she is the central figure because she has the selecting right. Hepburn wins her from this "false exaltation" during a holiday trip to the mountains and a glacier. He pursues a difficult courtship on the basis of honour and obedience, and finally she accepts him on his terms. The central image of the first half of The Captain's Doll is the doll, which provives a measure of Hepburn's development. The central image of the latter half of the novella is the glacier, which symbolizes Hannele's body. Hepburn conquers the glacier risking danger and shows her his manhood.