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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.
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.
장정우 19세기영어권문학회 2017 19세기 영어권 문학 Vol.21 No.1
Whitman’s language in Leaves of Grass contains many elements of maternal language. This essay explains how birth images in his poetry are represented on the semiotic level and how his feminine jouissance both expresses his pleasure at crossing gender boundaries and encodes the cultural creation of a nation and his work. Whitman makes it possible for women to enjoy their complete selfhood. By employing a lot of birth images in his poetry, Whitman brings womanhood and motherhood into an open space. His idea of perfect motherhood is determined by his vision of how a strong nation can be created. Consequently, he envisions women breeding robust offspring for the nation. In this context, Whitman extends images of procreation and parenthood in relation to birth images. In fact, Leaves of Grass is strewn with images and terms connected to birth. His language is saturated with birthing, babyhood and women as mothers. It is no accident that he brings babies, children, and women into his poetry. Those figures are remarkably well matched to his intention to describe the cultural parturition of a nation. In his description of birth, he insinuates that he himself gives birth to the nation by begetting artistic offspring.
Evoking National Unity: Suffering, Sympathy, and Patriotic Wars in Leaves of Grass
장정우 한국현대영미시학회 2017 현대영미시연구 Vol.23 No.1
The first edition of Leaves of Grass in 1855 is impressively filled with bloody scenes such as a suicidal scene, a suffering slave, a mashed fireman, and martyrs of war. The sensational scenes not only attract people’s attention but also establish common ground upon which people are linked together. The blood imagery begins on the personal level, but it is developed to the public level. To evoke national unity, Whitman employs effective devices such as sympathy with victims, empathy with sufferers, and sensationalism. On the other hand, Whitman’s persona appears as a sympathetic figure in Leaves of Grass. The sympathetic yet omniscient persona identifies himself with many suffering characters in a series of vignettes. Whitman mentions destructive and sensational moments in his poems to bring up a moment of patriotic togetherness. Paradoxical as it seems to be, national union comes from a moment of disaster. In other words, the source of national unity ironically comes from the destructive scenes such as the shipwreck, the hounded slave, and the mashed fireman. Whitman interweaves suffering, sympathy, and martyrdom into national unity in Leaves of Grass.
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.
"When Lilacs Last in the Dooryard Bloom´d" : For Whom the Elegy Echoes
장정우 연세대학교 영어영문학회 1995 영어영문학연구 Vol.17 No.-
“When Lilace Last in the Dooryard Bloom’d” is one of four elegies entitled “Memories of President Lincoln” But if we regard it just as a conventional elegy, we may lose too much of what the poet tries to convey to the reader Seemingly the poem takes the conventional elegiac form, but the meaning of the elegy is quite different from that of traditional elegy To take an example, in “Lycidas” written in the pastoral form, a consolatory thought is expressed to a specific person But in “When Lilacs Last in the Dooryard Bloom’d”, Lincoln himself does not appear from the beginning just except in its title, and there is no concrete mention of either his personality or his achievements Whitman does not make any remark on the assassination of Lincoln Unlike other traditional elelgies, this poem does not contain the name of the specific person, which Whitman continuously and consciously avoids mentioning He regards the death of Lincoln as one of the results of the violence prevalent in human society The death of President Lincoln is an obvious motive that urges Whitman to talk about the miserable effect of war The poet makes impersonality of his elegy
Emily Dickinson’s Poetic Reading of Greek Mythology
장정우 한국현대영미시학회 2016 현대영미시연구 Vol.22 No.1
Emily Dickinson’s relation to Greek antiquity is an interesting topic in the sense that it shows how she responds to the ancient world. In fact, she makes direct references to Greek antiquity in 20 of her poems. Her specific reference to Greek mythological characters is much less frequent, but the poet powerfully advocates selfhood and identity in relation to them. She employs several mythological figures such as Prometheus, Amphitrite, Memnon, Midas, Jason, and Orpheus in her poems. When she refers to each mythic character, she reinterprets their roles in relation to her poetic world. She doubts, rejects, transforms, and identifies with Greek mythological characters. She is not so much overshadowed by mythological figures but challenges them to claim her unmistakable selfhood and identity. In other words, she appropriates mythological figures for the purpose of creating her poetic world. Her emphasis on her own selfhood and authority leads her to create her own mythic world. This essay aims to give a clearer picture of how Dickinson reads and interprets Greek mythology.
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.
장정우,최승석,이장현,안희창,강낙헌 대한성형외과학회 2011 Archives of Plastic Surgery Vol.38 No.4
Purpose: Although the sural nerve is the most commonly used donor for autologous nerve graft, its morbidity after harvesting is sparsely investigated. The sural nerve being a sensory nerve, complications such as sensory changes in its area and neuroma can be expected. This study was designed to evaluate the donor site morbidity after sural nerve harvesting. Methods: Among the 13 cases, who underwent sural nerve harvesting between January 2004 and August 2009, 11 patients with proper follow up were included in the study. The collected data included harvested graft length,actual length of the grafted nerve, anesthetic and paresthetic area, presence of Tinel sign and symptomatic neuroma, and scar quality. Results: In 7 patients, no anesthetic area could be detected. Of the patients with a follow up period of more than 2 years, all the patients showed no anesthetic area except two cases who had a very small area of sensory deficit (225 mm^2) on the lateral heel area, and large deficit (4,500 mm^2) on the lateral foot aspect. The patients with a short follow up period (1~2 m) demonstrated a large anesthetic skin area (6.760 mm^2, 12,500 mm^2). Only one patient had a Tinel sign. This patient also showed a subcutaneous neuroma, which was visible, but did not complain of discomfort during daily activities. One patient had a hypertrophic scar in the retromalleolar area, whereas the two other scars on the calf were invisible. Conclusion: After a period of 2 years the size of anesthetic skin in the lateral retromalleolar area is nearly zero. It is hypothesized that the size of sensory skin deficit may be large immediately after the operation. This area decreases over time so that after 2 years the patient does not feel any discomfort from nerve harvesting.