영화 속의 영시: 멀티미디어를 활용한 영시

양승갑(Sung Kap Yang) 한국영미문학교육학회 2005 영미문학교육 Vol.9 No.1

The aim of this study is to exemplify the education of English poetry by means of the cinema. Nowadays thousands of movies are released every year, which means that the available sources for this teaching method are abundant. The biggest advantage of the education of English poetry via the cinema is that it can reinforce drastically the accessibility of students to poetry, helping them dismiss the conventional wisdom that English poetry is difficult to understand and study. The accessibility leads to the easiness and efficiency of grasping the meaning of poetry. Every good movie using poems has invariably the same or similar theme with the poems used in it, which means that the condensed and compacted themes of the poems can be paraphrased by the long and detailed scenes of the cinema. The mutual complement implants the theme and meaning of the poems in the student's mind both impressively and effectively as can be seen from the case study of Dead Poets Society. The exquisite harmony between the poetry and the cinema can establish the education of English poetry via the cinema as a powerful and effective pedagogy.

르 귄의 시에서의 정의

양승갑(Yang, Sung-Kap) 문학과환경학회 2017 문학과 환경 Vol.16 No.3

본 연구는 어슐라 크뢰버 르 귄(Ursula Kroeber Le Guin: 1929- )의 시에서 드러나는 ‘정의’의 문제에 초점을 맞추기 위하여 그녀의 시에서의 정의를 “사회 정의,” “환경 정의” 그리고 “생태 정의”로 나누어서 살펴보았다. 르 귄은 오늘날 우리 사회에 만연한 부정의가 기득권층의 정보와 지식의 독점에서 비롯된 사회 구조적인 문제임을 직시한다. 그녀는 이러한 편중이 낳은 사회적 부정의가 빈부 계층의 고착화로 이어지며, 나아가 환경 정의의 문제로까지 확대된다고 본다. 환경적 부정의의 문제에 대한 르 귄의 고찰은 기득권층과 현대인들의 부정의에 대한 ‘무지’와 ‘무감각’을 꼬집는다. 이 무지와 무감각은 그녀의 시에서 ‘다른 곳’과 ‘거리감’으로 가시화된다. 그리하여, 모든 부정의의 해결점이자 결론에 해당하는 생태 정의에서, 르 귄은 자연 속에서의 모든 종(種)들의 평등성에 대한 철저한 수용이 무지와 무감각으로 생긴 모든 거리감을 일소할 수 있음을 주장한다. 이 모든 과정에서 르 귄은 ‘열린 의식’을 강조한다. 그녀가 ‘열린 집’에 거주하는 ‘세상의 주부’임을 자처하는 것은 모든 현대인들이 그 어떤 차별과 구별도 없는 ‘정의로운’ 그 집에 함께 기거하기를 바라기 때문이다. 결과적으로 르 귄의 시에서의 정의는 만물과의 공생을 위한 열린 인식에 다름 아니다. Among the existing man of letters, Ursula Kroeber Le Guin(1929-) is one of the most influential writers. The influence comes from the fact that She has been a practical activist on the various spots of anti-war, anti-nuclear, anti-racism movement and so on. And also in her works especially in her poetry she clarifies that literature and imagination can/must be a powerful weapon for the fights against all the injustices deeply permeated in the modern society. Broadly speaking, all the justices can be concluded into ‘fairness.’ But to focus on the “justice” in the poetry of Le Guin, this paper categorizes justice into three types; “Social Justice,” “Environmental Justice,” and “Ecological Justice.” For the social justice, the first step Le Guin takes is the diagnosis of the injustices widespread in the modern society. She points out “the mis-recognition” of the weak and the low by the established who have monopolized knowledge and information also. The structural injustice in our society is more expanding and deepening in the “environmental justice.” All the environmental injustices, Le Guin believes, come from the environmental inequality and the inequality from the ignorance and insensibility of the established to the weak. In her poems “distance” and “other place or elsewhere” are the metaphor for the ignorance and insensibility. “Ecological justice,” the last and complete justice, is to be ‘oneness’ with everything fulfilled by the removing of the ignorance and insensibility. And in her poetry, all the justices are arranged into the ecological justice. As a poet, Le Guin claims to be “a world’s housekeeper.” And her house which knows no inequality nor injustice at all is wide open to every direction and every one and every thing under the heaven. As a result, in Le Guin’s poetry, justice has the exactly same meaning with the ‘open consciousness’ toward everything in Nature for ‘symbiosis.’

로렌스의 시 -동물적 삶의 찬가-

양승갑 ( Sung Kap Yang ) 21세기영어영문학회 2010 영어영문학21 Vol.23 No.1

The poetry of Lawrence doesn`t conceal the inferiority of men and culture to nature and the wilderness. Seemingly, this provocative inferiority has made the society and rather many readers uncomfortable and displeased. But readers` disagreement with Lawrence means that deep-rooted anthropocentric consciousness has been prevailing and Lawrence subversive inversion is concreted into `Hymn of an Animal Life` in his poems. Lawrence`s hymn goes beyond `reductionism` or `the recovery of the relationship between man and nature` as it includes `the way of living in nature as a part of it.` Nature in his hymns is `not for man` or `an object to experience` but `a place to live in.` Lawrence believes that the `elan vital` for man is secured only by nature. The major concern of ecological minds is the problem of `practice.` Nowadays virtual reality is ever present, so many human experiences are undergone only by cognition. Therefore, there should be more direct and tangible eco-centrical tactics. In Lawrence`s hymn, man is only an animal which can do nothing without nature. The outspoken frankness of Lawrence`s hymn can be a good eye-opener to the present crisis of nature.

어슐러 크뢰버 르 귄의 시

양승갑(Yang, Sung-Kap) 문학과환경학회 2016 문학과 환경 Vol.15 No.4

본 연구는 어쉴라 르 귄의 시를 스토리텔링과 스토리리빙의 관점에서 살펴보았다. 그녀는 자신의 이야기가 오늘날의 인간 현실에 대한 의미 있는 변화를 초래할 수 있다고 본다. 즉, 스토리텔링이 지닌 상상력의 힘이 현실 개조라는 스토리리빙으로 이어질 수 있다는 것이다. 이를 위하여 르 귄의 시가 보이는 특징 중의 하나인 허구와 실제가 혼용된 글쓰기를 독자들의 인지 강화라는 측면으로 본다. 허구와 실제의 간극을 극대화하여 스토리텔링과 그 이야기들을 만들어 내는 상상력과 얼마나 멀어져 있는가를 독자들에게 효과적으로 각인시킨다는 것이다. 이러한 각인과 인지는 그녀의 시에서 자연스럽게 상상력의 회복으로 이어진다. 그녀의 시에서 상상력의 회복은 우리 주변의 흔한 일상에서부터 시작한다. 상상력의 일상성은 상상력 회복의 실존적 당위성을 지닐 뿐 아니라 독자들에게 보다 명료한 공명을 제공한다는 점에서 현실개조를 지향하는 르 귄의 시가 지니는 힘의 원천이다. 르 귄의 스토리텔링은 우리 잊거나 놓치고 있는 것이 무엇인가를 상기해 내는 것을 새로운 것을 창안해 내는 것보다 더 중요하게 제시한다. 따라서 그녀의 스토리텔링은 오늘날 인간의 삶을 변화시키는 행위인 스토리리빙으로 보다 직접적이면서도 효과적으로 이어질 수 있다. 이런 점에서 르 귄의 스토리텔링은 상상하면 실현된다는 소셜 픽션의 범례이다. Ursula Kroeber Le Guin is mainly known for her science fiction and fantasy. But she herself has resisted the pigeonholing for most of her career. Considering the fact that applying the label of "science fiction" to Le Guin"s work doesn"t convey the range of her stories or her literary sources, her resistance is reasonable. A more accurate description for Le Guin would be “story-teller.” Le Guin has produced 10 collections of poems starting from Wild Angels in 1974 to Finding My Elegy: New and Selected Poems in 2012. Her poetry shows her style and philosophy with lucidity and succinctness, which serves well as a clue to tell her writing characteristics, philosophy and vocation as a story-teller. As a story teller, the most prominent quality of Le Guin is the merging of ‘fiction(imagination)’ and ‘fact(reality).’ The purpose of this hybridization comes from her deep insight into the reality in the modern society and also from her desire to give the impact of ‘the verisimilitude’ to the modern readers. In her poems Le Guin intentionally omits the process of how human beings have lost the magic power of imagination to show the drastic difference between the harmonious world in the past and the chaotic one in the present. In her poems the past usually falls on the fiction(imagination) and the present on the fact(reality). So Le Guin’s merging can be kind of a device to lure the readers to recognize keenly the gap between the life with imagination and without it. To live truly and really, according to Le Guin, human beings should recover the magic power of imagination which we had once and lost. The suggestions she offers in her poems to recover the magic power seem to be trifling; “may you be in this house”(“For the New House”), “listen a lesser voice”(“Talk Show”), “minds lie still as sunlit meadows lie”(“Futurology”) and “all the living things [. . .] are probably connected.”(“‘The scarcity of rhinos’ on the television”). The trifles make her poems existential and also provides an easy but firm ground upon which her story-telling be changed into a story-living which leads directly to a creative way of living. Nowadays “Social Fiction” says that “We imagine it, and it comes true. Yet we don"t have social fiction, so nothing changes.” Le Guin doesn’t talk about anything beyond human ability. She just talk about something that is and/or was close to us both mentally and physically. That is why just listening carefully to her story telling gives us a clear resonance. And that is why Le Guin’s story telling can be a true “Social Fiction” which tries to change the way of life in modern society.

셸리의 시에 나타난 독자와의 교호를 위한 글쓰기

양승갑 ( Yang Sung-kap ) 대한영어영문학회 1999 영어영문학연구 Vol.25 No.1

This study inquires into the relation between the writer and the reader in the poetry of Shelley who, in spite of his endeavor to acquire the public popularity, was criticized and neglected by his contemporary readers as well as critics. Reading Shelley’s poetry, we can recognize without any difficulty that he continuously tries to have more direct and close association with the reader than any other poet in his time. In Shelley’s poetry, this is shown as the responsibility of the writer for the reader. For this responsibility Shelley work out a variety of mechanisms; writing prefaces to every long poems hard for readers to understand; endowing poets including himself with the status of prophet; reversed writing in which physical objects come from the mentality in contrast to the poetry in common. On the part of readers, these mechanisms help them feel that their consciousness is continuously stirred up. And readers are gradually lea into the field where the relationship between them and the writer is built up in sympathy. Seemingly, Shelley just copies the writing of the old, typical writers in which the writers stay predominant over the readers. But in seeing Shelley’s poetry in the reader-oriented view, the most important thing is that all these manipulations by Shelley is to make the reader respond to his poetry more smoothly and closely--a kind of warmup. That is to say, Shelley never says to his readers what they should obtain in his works; but he just want to say how they should read his poetry. All the rest is on each reader. In conclusion, Shelley’s writing, which appreciates the relationship between the reader and the writer, and induce the reader to have his own experience, laid a cornerstone of the reader-responsive approach as early as 200 years ago.

블레이크의 『경험의 노래』와 생태 정의

양승갑 ( Yang¸ Sung-kap ) 21세기영어영문학회 2021 영어영문학21 Vol.34 No.1

Blake’s Songs of Experience, the antithetical poem to Songs of Innocence, depicts the apocalyptic realities of human beings in the world of experience. And the calamity of the world, Blake clarifies, has come from deep-rooted social injustice which has been enforced to innocent and vulnerable children and grown-ups by the established in the name of religion and reason. In Blake’s poems, the widespread injustice wields its power especially upon the intrinsic vitality of human beings. And poems make it clear that the oppression has become more wretched in parallel with the distance of human beings away from nature with which they had once dwelled in harmony. Consequently, the accomplishment of eco-justice can restore the dwelling place of human beings in nature and recover their inherent properties of, what Blake calls, ‘innocence and experience’. Additionally, the approach to Songs of Experience with eco-justice can make the meaning of the ‘experience’ more explicit. With the help of eco-justice, any constraints surrounding the experience can be eliminated and reveal its genuine quality to be the ‘energetic’ pair to ‘pure’ innocence in the human mind.

논문 : 딜런 토마스의 시-생태적 글쓰기와 생태인식의 함양

양승갑 ( Sung Kap Yang ) 한국영어영문학회 2006 영어 영문학 Vol.52 No.4

생태학적 텍스트로서의 룃키의 시 : 경외로운 작은 것들의 자극

양승갑(Yang Sung-kap) 문학과 환경학회 2008 문학과 환경 Vol.7 No.1

Against the imminent environmental war, there should be an effective device which makes us painfully aware that we, with the ruined environment, are all heading for self-destruction. Non-fictional writing acts as an immediate and direct eye-opener to the war. But seeing the fact that poetry, of which the origin goes back to the prehistoric age, has long been singing nature and men in nature, it can be one of the most powerful devices against the matricidal war. Theodore Roethke loves and sings nature, believing all his poetic inspirations have arisen from it. At first glance his poems look strange to readers. This strangeness comes mainly from the objects of his poems ― what he calls "fearful small" such as slugs, worms, moss and so on. The novelty of his poems arises also from his way of looking at nature. In a way, his poems are a record of his way of looking at nature, just "long looking." By long looking, he establishes communion with his inner self and the natural world. And as the oneness with nature in his poems is done with humility before nature, it clearly manifests that we human beings are merely a part of nature. The ecological consciousness in his poems extends through regression into a state of intrinsic harmony between man and nature. Even if Roethke sings about the small in nature in a low and humble voice, its nudging is huge and even threatening to us. For the small nudging awakens us from the long-forgotten worth of nature. As nature has been our one and only dwelling place for a long time, there must be a key for us to live in harmony with nature. Any poetry which acts as an ecological text should help us in the search. Roethke’s poetry holds the key.

영어영문학21제26권 2호 : 세상을 구하는 노래-모던 발라디어 피트 시거

양승갑 ( Sung Kap Yang ) 21세기영어영문학회 2013 영어영문학21 Vol.26 No.2

The purpose of this paper is to find the possibility of songs as an ecological text for the enhancement of ecocentric consciousness. Ballads, sung by bards and minstrels in ancient times and folk singers now, have provided folks with means of communications and open places in which everything including nature merges harmoniously into one without any hierarchies in community or positions on earth. Pete Seeger, praised as ‘the tuning fork of American folk song,` has faithfully followed the ways of ancient bards and minstrels. Aware of the power of song, he knows his songs can be an catalyst for people to feel keenly about environmental crisis and persuade them into acting against it. In many of his songs, he dreams of symbiotic relationships between every creature on earth and wants to keep earth clean for the future generations, “tomorrow`s children.” Pete Seeger`s worldwide hits such as “Where Have All the Flowers Gone” and “Turn, Turn, Turn” have been translated in more than twenty countries and sung by many famous singers and ordinary people all over the world. Considering the qualification for the ecological text which makes people perceive the imminent environmental crisis and result in their active actions, the far-reaching influences along with his life itself devoted into environmental movement proves Pete Seeger`s songs to be an excellent ecological text.

서정사회학으로서의 톰슨의 「사계」

양승갑 ( Sung Kap Yang ) 21세기영어영문학회 2015 영어영문학21 Vol.28 No.1

James Thomson’s The Seasons could not be measured by just one approach because of its multidisciplinary writing style that consists of sociology, science, religion and so on. The popularity of The Seasons crossing the two antithetic periods-neo-classical era known as ‘the age of reason’ and romantic era known as ‘the age of emotion,’-can also explain its assorted writing style and completedness as well. “Lyrical Sociology” here is just an approach to reveal how effectively and deeply the heterogeneous combining can hold reader’s attention even today. Seen from the perspective of Lyrical sociology, Thomson’s balanced tightrope feat between lyrical emotion covering myriad natural scenes in cyclical season and reasonal sociology covering various social systems and human relationships makes tension from readers’ minds, which results in the active reconsideration of the place where we are dwelling in. And in The Seasons the reconsideration is much the same with the recognition of the sublimity of nature. Nature writing and ecocriticism have sought the way to turn readers’ anthropocentric mind into ecoconscious one. And ecocriticism has refused flatly men’s ‘reason’ or ‘language’ as a chief instigator for men to have their own superiority over nature, which, in a way, result in alienating literature from its own characteristics. But The Seasons, regardless of its anthropocentric basis from the age of reason, attains completely the sublimity of Nature and humble position of men in nature. This precedent set by The Seasons can be a good weapon against ‘the environmental war’ today without discarding the dignity of literature itself at all.