William Wordsworth의 "spots of time" 연구 : The Prelude를 중심으로

이예성 경주대학교 1993 論文集 Vol.4 No.-

Freedom의 주제와 Central Intelligence수법을 중심으로

이예성 연세대학교 영어영문학과 1983 영어영문학연구 Vol.7 No.-

The Great Gatsby의 소설기법

이예성 경주대학교 1995 論文集 Vol.7 No.-

According to The Rhetoric of Fiction by Wayne C. Booth, the authorial impersonality is not always desirable ; it is impossible for writers to disappear completely from fiction or to eliminate certain overt signs of he author's presence. Writers ceaselessly try to bring their existence to the reader's attention. Event there are many cases where the authorial intrusion is more effective than the authorial objectivity. Wayne C. Booth says in the book that "...the author's judgement is always present, always evident to anyone who knows how to look for it...We must never forget that though the author can to some extent choose his disguises, he can never choose to disappear." Fitzgerald was able to intrude deliberately and obviously in his The Great Gatsby, creating "the implied author" as his "second self" through the convention of the first person narration of Nick Carraway, an observer-actor or a narrator-agent who produces some measurable effect on the course of events. As Mitzener says in his "F. Scott Fitzgerald :The Poet of Borrowed Time," Fitzgerald was able to focus his story by means of this narrator, At first, the narrator Nick, acting to the foil to Gatsby, tries to neutral because he doesn't know anything about the mysterious man Gatsby. But, gradually, the narrator begins to accept him, rejecting the corrupt Buchanans[Tom and Daisy], And at the end of the novel, he fully accepts him, taking pride in his saying that "They[Tom and Daisy] are a rotten crowd...you're worth the whole bunch pt together." Thomas A. Hanzo also recognizes in his "The Theme and the Narrator in The Great Gatsby" the successful use of the first-person narrator of Nick like this : "Fitzgerald's intention can not be clarified, nor the significance of his achievement grasped, without sharing with Nick the trial of his self and the activity of his conscience in that society of which Gatsby is only the most notable part." Obviously, When we are conscious of the narrator sharing with him "the trial of his self and the activity of his conscience," we become the implied readers. In other words, we begin to "take Nick Carraway as our example and his sensibility and intelligence as the recognizable determinants which inform the story with its meaning," as Thomas A. Hanzo says in his article. in short, Fitzgerald's subject or theme of this novel is seen through the history of the narrator Nick "whose moral intelligence is the proper source of our understanding and whose career, in the passage form innocence to revaluation, dramatizes the possibility and mode of a moral sanction contemporary America," as Thomas A. Hanzo says aging in his article.

Illusion과 Reality 사이의 괴리와 Illusion이 가져오는 비극에 대하여

이예성 경주대학교 1990 論文集 Vol.2 No.-

인간은 아주 쉽게 겉과 속이 달라질 수 있는 아이러니칼한 존재이며, 궁극적 실체, 실재, 진리. 현실(reality)을 제대로 깨닫지 못하고 눈앞의 환상, 허영, 잘못된 생각, 거짓된 것(illusion)에만 메달리다가 끝내는 비극을 불러오는 존재이다. 이러한 환상과 현실 혹은 실재 사이의 괴리에서 비롯되는 비극의 양상은 다양할 것이다. 이 논문에서는 우린 인간에게 가장 보편적이고 원초적이며 실존적인 주제를 다루고 있는 세 개의 극작품을 통해 이러한 주제를 다루고자 하는데, 첫째로, 어떠한 삶을 살아야 할 것인가라는 가장 보편적이고 원초적인 문제를 제기하는 종교적, 교훈적 목적으로 쓰여진 중세의 도덕극 Everyman, 둘째로, 역사적 발전과정에 있는 한 사회의 의식의 변혁기에 벌어질 수 있는 개인과 개인, 개인과 사회적 요구사이의 가치관의 차이에서 비롯되는 비극적 희생을 다룬 Friedrich Hebbel의 Maria Magdalena, 셋째로, 이상과 야망, 휴매니티와 비인간성, 정의와 부정이 처절하게 뒤엉키는 프랑스 혁명의 소용돌이 속에 빠져드는 일물들의 이념의 차이에서 생기는 비극을 다룬 Georg Büchner의 Danton's Death가 그러한 작품들이다.

Larkin 시의 영국주의

이예성 경주대학교 1999 論文集 Vol.11 No.-

English poet Philip Larkin(1922~1985) wrote his major poems from 1945 to 1975. At this period England lost its colonies and became secondary to the new imperial power, America. Thus analyses of "Englandism", or "Englishness" were a central aspect of the politics of this era. The English people tried to define their national identity. They began to long for the past. They began to long for England as "England". Philip Larkin was one of them. As one of the most influential members of "The Movement" group which emphasized "Englandism" and "Englishness", Philip Larkin was a most outstanding figure who felt regret for the past of England. He regretted the loss of Empire and a sense of community. In his many poems, there is most nostalgic regret for the past industrial age of English imperial and mercantile domination. He tries to find "home" and "Englishness" through English history and English society and life. He feels that he is an exile within his own country. He feels that he has no home in it. Thus his poems highlight the emptiness of England and are elegiac. Most impressively, he ends his poem "Friday Night in the Royal Station Hotel" with an image of the sea---so important to England's power. And the power was based upon mercantile trade outside England through the sea and the power helped the English people create the belief that England was the centre of the world. As a poet Larkin tries to cherish "Englishness" in his poems before it disappears in his country.

영국의 전통적 자연관 연구

이예성 경주대학교 2001 論文集 Vol.14 No.-

The purpose of this study is to show that, even before the 19th century English Romantic age, the tradition of English literature and English spiritual life is romanticism, and the British traditional view of nature is also romantic, and that some ecological ideas are revealed in the English romantic view of nature. It may be that ecological ideas are essentially romantic. Some ecological ideas in English romantic poems can be a ray of hope for resolving today’s environmental crisis. For this purpose, this study tries to reveal some romantic elements and ecological ideas by introducing some critical views and examining one English medieval poem and several English Pre-romantic poems, especially nature poems, written before the 19th English Romantic age. Some critical views include Nick Frankel’s view on Oscar Wilde’s literary world, John Ruskins’s and Laurence Binyoun’s stresses on the romantic view of nature in the Northern tradition to which England’s civilization belongs, F. E. Spurgeon’s stress on English mysticism, and, especially, the arduous debates between a romantic John Middleton Murry and a classicist T. S Eliot on Romanticism and Classicism as the tradition of English literature and English spiritual life. Murry argued that “Romanticism…is itself the English tradition: it is national, and it is the secret source of our own peculiar vitality.” This study takes sides With Murry in this argument. And for the purpose of this study, some poems from the English medieval age to English pre-romantic age are examined roughly. After examining one medieval poem traditionally by Taliesin and several poems of the English Neo-classic and English Pre-romantics, it can be said that the English people have almost consistently had a romantic view of nature, believing in the divinity of nature and in the special affinity between man and nature, even in the English Neo-classic age of the 18th century, and that such mystical thought and mystical attitude are curiously persistent in English literature. What is interesting, Murry’s romantic view of nature and his ecological attitude are most similar to those of William Wordsworth. Matthew Arnold praised Wordsworth as “one of the very chief glories of English poetry”, and at best, as the spirit of English poetry. Thus it can be said that Wordsworth’s romantic view of nature may seem to be more central to the elucidation of the tradition of English literature and English spiritual life and of the traditional view of nature in England than to that of most others. The world of Wordsworth’s poetry is of immense importance in English Romanticism. As E. C Semple said, “man is a product of the earth’s surface.” But man has been regarding himself as the central fact of the universe and has thought that he is entitled to conquer or exploit nature at will. Such an anthropocentric interpretation of the universe is responsible for today’s life-threatening ecological problems. These problems can be solved only through a revolution of our attitude toward nature. Now it is necessary to think that man is a part of nature, that he is not the master of the earth but a product of it, and that he must find special affinity between him and nature. We can see this kind of ecological vision also in Wordsworth’s romantic idea of nature and his ecological attitudes toward nature. He respected Nature. He had a sense of the sacredness of the created world. He gained his revelation of divinity through nature. He thought of nature as a spiritual existence or as having personality, and he developed a faith in the beneficient power of nature to heal and cleanse man’s psyche. And, especially, he emphasized the organic interrelatedness between man and nature. He regarded man as a part of nature and believed in the coherence of all beings. He tried to see “one life” or “mighty unity” in all thing of nature. So men are unified with them in his world. At his best, Wordsworth’s poetry is the visionary expression of eternity or permanence through the beauty of wild nature. In a sense, he gave man warning against the anthropocentric arrogance. There is a grain of truth in his romantic ideas. In this respect, Wordsworth’s romantic view of nature will help modern men work out an answer to the today’s ecological problems.

비극적 비전의 한 양상 : 초월의 카타르시스 Christopher Marlowe의 Doctor Faustus를 중심으로 Catharsis of Transcedence in Christopher Marlowe's The Tragical History of Doctor Faustus

이예성 경주대학교 1996 論文集 Vol.8 No.-

It is said that tragedy has disappeared in our age. If we agree on the death of tragedy, it is not the death of tragedy itself but the glory of God and man, and the magnitude or largeness of man revealed in the death or downfalls of the tragic heroes which we cherish. We see the tragic vision from the death or downfalls of the tragic heroes and their magnitude or largeness revealed in their struggle against their tragic flaws, their fates or circumstances which are too much for him, which he can not control. The tragic heroes struggle to recover their rightful places and to evaluate themselves justly, showing their indestructable will to achieve their humanity. The tragic heroes arouse wonder and astonishment. His death or downfall becomes his victory rather than his defeat. We can also see the tragic vision in Christopher Marlow's The Tragical History of Doctor Faustus. Boundless in its aspirations, the Renaissance mind is the theme of all Marlow's plays. Dr. Faustus is a symbol of the Renaissance mind : he wants to know all thing and to have all knowledge. He is an overreacher. He is the epitome of Renaissance aspiration. He has all the divine discontent, the unwearied and unsatisfied striving after knowledge. He tried to abjure God in the hope of becoming something more than a man. He attempts to defy the will of God. Therefore he is doomed to failure at the very outset. So this play is more metaphysical, archetypal, and existential than moral in its conception of human will and action. Dr. Faustus is one of us, falling down from his position, after suffering from his tragic flaw - to defy the will of God, and this failure shows at once the greatness and misery of the individual. The sense of mortality in this play is felt as the power which ultimately extinguishes all the hero's pride and aspiraton, the inevitable end which irreconcilably contradicts Dr. Faustus's unlimited will and infinite desires. A critic, who acknowledges that Dr. Faustus is a sinner, goes so far as to say that he doesn't seem "to deserve the fearful punishment finally inflicted on him." Christopher Marlowe pressents Dr. Faustus in such a way as to enlist our sympathy and admiration for him in his revolt againt God. We experience the doctrine of felix culpa from the death of Dr. Faustus, that is to say, we experience catharsis of transcendence of the existential or archetypal agony of man from Dr. Faustus's death. He fights againt human limitation, dispirited by the fact that "Yet are thou still but Faustus and a man." After all he is defeated but shows us the magnitude or largeness of man.

Wordsworth의 낭만적 자연관과 생태학적 태도

이예성 경주대학교 1999 論文集 Vol.12 No.1

It is not too mush to say that William Wordsworth was the first and the last poet, who recognized the importance of nature. The purpose of this study is to shed light on his romantic idea of nature and its relation to ecology. His belief in nature is ecological one. His ecological attitude toward nature can be a ray of hope for resolving today's environmental crisis. As E. C. Semple said, "man is a product of the earth's surface". But man has been regarding himself as the central fact of the universe and has thought that he is entitled to conquer or exploit nature at will. Such an anthropocentric interpretation of the universe is responsible for today's life-threatening ecological problems. These problems can be solved only through a revolution of our attitude toward nature. Now is the time to think that he must find special affinity between him and nature. We can see the ecological vision in Wordsworth's romantic idea of nature. His romantic idea of nature will help modern men work out the answer to the ecological problems. In a sense, he gave man warning against the anthropocentric arrogance. Wordsworth's idea of nature was romantic one. First of all, he respected nature. He had a sense of the sacredness of the created world. He thought of nature as a spiritual existence or as having personality and developed a faith in the beneficient power of nature. He thought that nature has the power to heal and cleanse the psyche. And then he emphasized the organic interrelatedness between man and nature. He regarded man as a part of nature and believed in the coherence of all beings. He tried to see "one life" or "mighty unity" in all things of nature. So men are unified with them in his world. At his best, Wordsworth's poetry is the visionary expression of eternity or permanence through the beauty of wild nature.

4.16참사 유가족이 경험한 상실의 복합적 의미 : 부모의 구술증언을 중심으로

이예성 한국구술사학회 2019 구술사연구 Vol.10 No.1

본 연구의 목적은 4.16기억저장소에서 발행한 『4.16구술증언록』을 통하여 4.16 참사 유가족 중 단원고 희생 학생의 부모들이 경험한 상실의 특성과 의미를 파악하는 것이다. 4.16참사 이후 한국 사회는 자녀를 잃은 유가족들의 슬픔을 지켜보고, 이들 이 겪을 트라우마를 우려하였지만 실제 유가족들이 4.16참사로 인해 어떠한 경험을 하고 있는지에 대해 크게 주목하지는 않아왔다. 본 연구는 이러한 상황에 대해 문제를 제기하며 특히 유가족의 경험을 개인적인 자녀와의 사별이나 자녀 상실의 차원에서만 접근하는 방식을 탈피하고 이들의 경험을 사회문화적 현상의 차원으로 파악하고자 하 였다. 분석 결과, 부모들은 1) 왜곡되고 혼란스러운 참사의 상황 때문에 자녀의 죽음 을 받아들이고 다루어 낼 온전한 기회를 상실하였으며, 2) 가족, 친척, 친구 등 가까 운 관계, 3) 국가 및 사회의 존재와 의미 상실을 경험하였다. 이와 같은 복합적 상실 을 유가족이 겪는 개인적인 경험으로 가두어 보는 것은 4.16참사의 결과를 온전히 이 해하는 데 한계를 가져 온다. 4.16참사로 인한 부모들의 상실 경험은 단지 자녀 상실 의 한 사례가 아니라, 사회문화적·정치적 요소 등에 따라 복잡하게 구성되어 다양한 차원에서 나타나는 역사적 경험이다. 그러나 이러한 중층적 상실의 상황 속에서도 부 모들은 동시에 새롭게 유대와 결속을 만들어내는 적극적인 관계 생성의 움직임을 보 이고 있다. The purpose of this study is to employ the “4.16 Oral Testimonies” complied by the 4.16 Memory Archives to investigate the multi-dimensional nature of loss that the parents of student victims of 4.16 disaster experienced. After the tragic incidents, although many in Korean society became concerned with the trauma and the sufferings of the parents, the multi-dimensional range of the loss experienced by these parents was often overlooked. In particular, since previous studies had focused heavily on the personal dimension of the parents’ experience, it had been difficult to recognize the loss experienced in the social, cultural, and political dimensions of their lives. With the attempt to understand the complexity of the 4.16 disaster, this study offers a way to understand the loss caused by 4.16 disaster as a historical experience by investigating the bereaved parents’ experiences of loss at social, cultural, and political dimensions. The results of this research show that the parents experienced loss of: 1) opportunities for proper rituals to mourn for the death of their children due to the distorted representations of the incident in the media and the social and political struggles that followed; 2) many close relationships and communities, such as family, relatives, and friends; and 3) trust in the state and the society. However, despite complicated and multi-layered experiences of their loss, the parents also actively create new social relationships, bonds, and communities by actively participating in movements including this oral testimony.

조선후기(朝鮮後期) 회화(繪畵)에 있어서 예찬양식(倪瓚樣式)의 수용

이예성 한국동양예술학회 2002 동양예술 Vol.5 No.-

조선시대 미술분야에 있어서 영향관계를 말할 때 가장 중요한 비중을 차지하는 것은 중국이다. 특히 회화에 있어서 각 시기마다 특색 있는 화풍을 이룩하는 데에 토대가 되었던 것은 중국에서 전래된 새로운 양식이었다. 그중에서도 원대의 예찬의 영향은 매우 깊었다. 예찬의 양식을 한마디로 규정하기는 어려운 일이지만 후대에 인식되어진 것을 토대로 살펴보면 대체로 강을 중심으로 한 3단 구도와 빈 정자와 나무등의 간결한 경물, 갈필의 절대준 그리고 이들이 어울려 생겨나는 소산한 분위기 등을 들 수 있다. 조선후기 작품들에서 보이는 예찬의 영향은 근경을 이루는 빈 정자와 나무의 특징적인 경물들과 강안 풍경의 3단 구도에서 찾아볼 수 있을 뿐이다. 그 수용 단계에 따라 3시기로 나누어 볼 수 있다. 18세기 전반에는 예찬의 특정한 경물과 3단 구도등 비교적 예찬양식을 충실히 따르되 경물의 위치나 준법 등에서 변화를 주고 자신의 화풍을 사용함으로써 조선적인 미감을 보이는 예찬양식의 산수화가 그려졌다. 18세기 후반에는 인물이나 다리가 표현되고 원경이 애매해지는 등 경물 자체와 구도에 변화가 보이기 시작하는 한편 예찬의 정신적인 면을 따랐다고 하면서도 예찬양식과 전혀 관계가 없는 작품이 나오면서 더욱 조선적인 변형이 이루어지고 있다. 이러한 변모는 19세기에 새로이 청대 문인화풍이 들어오고 이에 따라 예찬양식에 대한 관심이 심화되면서 다시 새로운 변화를 보인다. 즉 김정희에 의한 간일하고 서예적인 면이 강한 개성적인 화풍으로 다시 해석된 예찬양식, 다시 말해 당시 중국과는 다른 조선적인 예찬양식이 유행하게 된다. 한편 조선 후기 예찬양식을 보이는 작품들에서 공통적으로 간취되는 것은 예찬양식의 중요한 요소 중의 하나인 준법, 즉 예찬 특유의 갈필과 절대준이 거의 사용되지 않았던 반면 미점이나 피마준 혹은 부벽준 등 화가 자신의 화풍이 사용 되었다는 사실이다. 또한 구도면에서도 근경의 토파와 遠山의 수평적인 요소와 나무들의 수직적인 요소의 조화를 통해 화면에 안정감을 주었던 것은 거의 수용되지 않았음을 알 수 있다. 이는 조선후기 화가들이 예찬양식을 받아들임에 있어 선택적인 수용을 했다는 것을 말해 준다.