헤밍웨이의 女性

呂永墩 대구효성가톨릭대학교 사회과학연구소 1985 女性問題硏究 Vol.14 No.-

Emily Bronte와 Wuthering Heights

呂永墩 대구 효성가톨릭대학교 1969 연구논문집 Vol.5 No.1

Wuthering Heights(1847년)는 복수의 귀신으로 화한 냉혹한 Healtheliff이 지난날에 자기를 학대했던 사람들에게 무자비한 복수를 하는 매우 이상한 애증의 세계를 Wuthering Heignts(Yorkshire)의 황야를 무대로 하여 묘사한 Emily Bronte¨의 유일한 소설이다. 이 작품의 형식이 조잡하고, 그 내용이 야만적이고 우아하고 음침하고 반도덕적인 점에서 상시의 독자들의 반발과 오해 때문에 그 가치를 인정받지 못하다가 거의 반세기의 ㅇ시간이 경과하여 비로서 그 가치를 인정받아 세인의 주목을 끌어 찬상의 대상이 되었다. Melville의 Mobby Dick(1850년)이 그러하듯이 이 작품도 20세기에 들어서면서 활발한 연구의 대상이 되여 높이 평가되고 있는 것은 20세기의 사상과 상통하는 작품임을 입증한다. Walter Allen은 Bronte¨의 이 작품이 가장 주목할 만한 진귀하게 완전한 소설로써 인간과 생명의 본질을 파악해서 구체화시킨 작품이며 그 내용이 기이하여 당황하게 하지만, 그 예술적 표현은 흠이 없다고 지적했다. Wuthering Heights is the most remarkable novel in English. Is it perfect, and perfect in the rerest way: it is the complete bodying forth of an intensely individual apprechension of the nature of man and life. That is to say, the content is strange enough, indeed baffling enough: whiel the artistic expression of it is flawless. Artistically, neither Jane Austen nor Henry James nor Joseph Conrad, the great masters of form in the English novel, did anything to surpass it. 자유분방한 상상의 비약과 공포, 신비, 정열, 그리고 난폭으로 충만된 이 작품은 낭만파소설이지만 괴이한 차원이 다른 것을 감지할 수 있다. 도덕에의 전념과 사회적 관심의 정도가 동시대의 다른 소설보다 희박하다 하드라도, 인간성의 가능성에 상등하는 공상적인 언어와 인간의 영감, 원시감각 및 정신적 광희의 놀라운 교착을 생각할 때 이 작품이 동 시대의 다른 소설과 경향을 달리한 소설이란 것을 알 수 있을 것이다. F.R.Leavis는 "I have said nothing about Wuthering Heights because that astonishing work seems to me a kind of sport"라고 평하여, 실제생활의 외면의 반영 및 낭만적인 주제결정을 요구했든 18,9세기의 영문학의 전통에 Emily Bronte¨ 가 정면으로 도전하여 그 전통을 깨트린 기이한 '변종' (Sport)이라고 말했다.

Hemingway작품에 나타난 인간의 비극적 운명

呂永墩 대구효성가톨릭대학교 1994 연구논문집 Vol.49 No.1

본 연구의 목적은 인간이 처한 비극적 운명을 Hemingway의 작품을 통해서 조사 평가하는 일이다. Hemingway의 작품에서 죽음은 인간이 피할 수 없는 운명으로 나타난다. 삶은 출생에서 죽음으로 진행하는 것이기 때문에 죽음은 인간이 도달해야 하는 절대적인 운명이다. Hemingway의 작품에서 인간은 그의 생활에서 얻은 죽음의 지식에서 인간의 비극적인 운명을 생각하게 된다. 인간의 비극적인 운명에 대한 관심은 Hemingway의 주인공에게 시간이 매우 중요하다는 생각을 가지게 한다. 인간에게 주어진 부족된 시간은 Hemingway주인공의 비극적 인생관에 관건이 된다. 인간에게 주어진 짧은 시간은 Hemingway 주인공으로 하여금 그의 삶의 아름다움에서 가치를 찾게 한다. 그러나 Hemingway 주인공은 그에게 주어진 시간이 너무 짧기 때문에 그의 한계를 자각하게 된다.

Hemingway 小說에 나타난 時間과 生의 美

呂永墩 대구효성가톨릭대학교 1987 연구논문집 Vol.34 No.1

Hemingway 文學에 나타난 悲劇的 人生觀

呂永墩 대구효성가톨릭대학교 1980 연구논문집 Vol.22 No.1

This study is intended to demonstrate that Hemingway evolved in his works a philosophy of life which was based on a tragic vision of the world in which he lived. The tragic view concentrates on the inevitability of man's death and on a serious concern with the problems of man's fate. hemingway's tragic vision of life is important because it is the basis for all his works. shaping his plots, his characters, and his themes. One of the ingredients making up the tragic view of man's universe is the inevitability of death. The sense of death pervades Hemingway's works and his thought. The hemingway heroes lament the little portion of time that has been allotted to them. Another characteristic which attaches to the tragic view of rality is the belief in the importance of the individual. To believe in the importance of the individual life, it is necessary to find a dignity in the indivdual. If one is to maintain his dignity and sense of value in the face of imminent death, he must come to possess stoicism. The Hemingway heroes have trained themselves to bear anything which life can bring. It is practical for Hemingway heroes to accept the reality of limitations. The hemingway heroes are faced with the loss of a loved one. Another aspect of the Hemingway heroes' stoicism is revealed in the Hemingway heroes' belief that they should not dwell for too long on the things that they cannot change or remedy. The hemingway hero must not dwell too much on his losses. He must not permit himself to live a life which is based upon illusion. He must never delude himself about life, and must cut out all illusion from his world. To live in illusion is to lose everything worthwhile. The hemingway heroes, then, must live up to their own code of values and conduct. Not to face reality is to doom themselves to be a loser. They must face a world filled with confusion, violence, and death. The Hemingway heroes find it necessary to cut themselves off from all connection with those who do not know the world the way it is. Intensity for living is an essential part of the tragic character like the Hemingway heroes. What increases man's sorrow concerning death is the beauty he must leave behind. Hemingway's tragic vision of life assumes that part of the individual's tragic situation is caused by his presence in the society of his fellow men. Hemingway is concerned with the individual judgment and action because of his tragic vision of life. The hemingway hero comes to learn that the tragic view or vision sees man in his isolated condition in a mysterious universe. The Hemingway hero is concerned with the world fo reality:he has little tolerance for illusion and fantasy. A tragic writer like Hemingway cannot allow himself to live a life based upon illusion. A man must know the way life really is in order to have any decent chance to survive in it. The individial who fails to understand reality cuts himself off from the many beauties which the world offers to those who are aware of those beauties. To live in illusion is to remain an outsider to the beauties of the world. Tose who never get to know reality or who never learn the necessity for an individual code of morality and behavior are outsiders. Outsiders are to be pitied and scorned by the insiders like the hemingway heroes. When the Hemingway hero notices the differecnce between established society's conventional view of the world and the view gained from his own experiences, he soon realizes that the conventional approach to life is wrong. He chooses to spend his time with the insiders who starting with a true knowledge of experience, mean what they say. The tragic fact for the hemingway hero is that the brevity of time allotted the individual means that he must choose among the beauties of life. Since time is so restrictive, the hemingway hero becones aware of his limitation. In a tragic world, the Hemingway hero learns that if he makes a mistake, he will die or he will lose something of great personal value. In hemingway's work fate plays the decisive role, and that the individual is powerless in changing any of its decrees. The world is free to destroy the individual and he can't control his world. but because the Hemingway hero can control his own will and determination, he can live in such a way that he is not defeated by the world. Because this is a tragic situation, the Hemingway hero must discover his own way of giving order to his life. Since a man must rely on himeslf, his personal character becomes his chief concern. A man can count on himself and on his own abilities. Because life is tragically uncertain and because a man can lose everything he has worked for, the Hemingway hero must find values that he cannot lose. It is the development of, and a relience on his own dignity and nobility as a man which enable the Hemingway hero to face his world. What we find in Hemingway's works is that man reaches his dignity alone when confronted by great obstacles, involving the teagic ingredients of violence, suffering, and death. In a tragic vision of life the hemingway hero is forced by his own experience of the world to observe that the values he considers worthwhile do not remain in existence for more than a limited time. Since man cannot control his fate beyond certain limits, the Hemingway hero devotes his attention to those aspects of man's life which man himself can control in the face of a hostile universe. He discovers that he can control his own thoughts, ideas, character, and his action. The Hemingway hero must possess endurance, will power and selfcontrol and courage. Experience and self-knowledge teach the hemingway hero that the sensual experiences of pleasure, happiness, and love value. He appreciates not only the physical, but also the spiritual aspects of living and the aesthetic delights of beauty, grace, and outer form. Because the Hemingway world is tragic in nature, it is not surprising that beauty, happiness, and love are fleeting. They do not remain for long. It is the quality of the time which is important. The hemingway hero, doomed to a tragic struggle in a viloent, turbulent world, must steel himself to face life with endurance, will, and stoicism. He cones to know that man will succeed within his limits only if he possesses these qualities. The Hemingway hero has learned that life can assume real intensity and true meaning in the face of death. He also has realized that death is the impetus for the good life, not just the end of life. The Hemingway hero discovered that death could have its positive aspect. For Hemingway only the behavior of man in the face of death seems to convince him of his ability to live, and in the final life-and-death confrontation, be proves an affiramtive and not a negative writer.

This Side of Paradise에 있어서의 Individualism

呂永墩 대구효성 가톨릭 대학교 1975 연구논문집 Vol.16 No.1

F.Scott Fitzgerld의 공적은 1920년대의 표면적인 세계의 파악방법을 찾아내는 일이었다. 그는 1920년대에 있어서 flapper로 낙인찍인 여자의 성강과 단련을 묘사하여 전후미국의 청년남녀에 비상한 주의를 기울였다. This Side of Paradise(1920년)는 Charles E.Shain의 다음의 말처럼 이차대전의 미국청년의 정신적성장과정즉 인간형성을 추구한 것이다. What Fitzgerald is really showing is how a young American of his gerneration discovers what sort of figure he wants to cut, what modes of conduct, gotten out of books as well as out of keep sense of his contemporaies, he wants to imitate.... The real story of This Side of Paradise is a report on a young man's emotional reainess for life. 한편 Russell Blankenship는 This Side of Paradise를 훌륭한 사회기록이라고 다음과 같이 언급했다. This Side of Paradise is a splightly -at times brilliant-account of a young man who was not unlike Fitzgeral. The leading character goes through Princeton, the war, and into the melodorous postwar period. To him love was notable for its transience, morality on outmodeled inhibition. At the end he is a disillusioned young man of twenty-four. The book is a rather slight but eminently readable social document. Robert Sklar는 Fitzgerald 가, 묘사한 주인공 Amory청년의 성장과 사회의 성장과정을 이렇게 지적했다. This side of Paradise portrays one young man's education, but it is the story of two development, the young man's and his society's together. Self and society are held together, even in the momnets when the novel plunges most deeply into the minds and hearts of the young. Amory Blaine은 그가성장한 사회의 인용을 받아드렸으나 1차대전후의 사회에는 그가 받아들렸는 전통사회인룡이 무가치하게 되자 그는 사회에서 후퇴해서 자기의 사회를 만들 수 있는 새로운 확고한 토대를 찾아 방황한다. 그리하여 Amory는 전통적인 낡은 인룡을 타파해서 진실한 자아를 끝없이 추구한다. Fitzgerald 가 명성을 얻게 된 This Side of Paradise 에 대해서 Edmund Wilson이 "It has almost every fault and deficiency that a novel can possibly have."라고 평한 것처럼 작품의 구성이 매우 조략하고 일관된 plot가 없고 episode의 연속에 불고하다는 인상을 주는 잡다한 형식을 갖고 있다. 이 작품이 많은 결점이 있음에도 불구하고 많은 독자의 지지를 받은 것은 작가 Fitzgerald 가 가식없이 솔직하게 자기감성의 전부를 작품속에 도입시킨 젊은 힘과 정직과 자기확신에 있다고 할 수 있다.

The Scarlet Letter의 象徵과 罪의 性格

呂永墩 대구효성가톨릭대학교 1973 연구논문집 Vol.12 No.1

중세취미와 괴기에 비상한 관심을 기우린 Hawthorne은 제재를 풍부한 상상력을 필요로 하는 역사와 가공의 세계에서 찾았으며 그 소재는 Puritanism을 신봉하는 New England의 선조들의 논적인 인생관이었다. Puritan 사회에서는 죄는 무엇보다도 큰 문제였기 때문에 Puritan들은 강uf한 죄의식을 갖고 있었다. Robert E. Spiller가 “The central theme of most of his stories is not sin as a theological problem, but rather the psychological effect of the convention of sin on the lives of the early colonists."라고 지적한 것처럼 Hawthorne의 작품에는 죄와 죄의식과 양심의 문제가 크게 취급되었다. 그는 Herman melville이나 Edgar Allen Poe처럼 인간의 마음의 어두운 심연의 탐구자였다. Hawthorne은 자기의 문제를 New England의 초기식민지의 역사속에 두어 크게 성공한 작가이다. New England 회사의 Puritan들에게 있어서 죄는 무서운 질재였으나 작가 Hawthorne에게는 하나의 심리적 고정관념이었다. 그는 초기 Purutan들을 모개물로 해서 그의 회의적인 사책을 끌어내는데 적당한 수단으로 극jr인 상징주의와 도덕적인 형식을 취했다.

Hemingway 文學의 暴力

呂永墩 대구효성가톨릭대학교 1984 연구논문집 Vol.29 No.1

The purpose of this study is to eamine the ways in which Ernest Hemingway made artistic use of various kinds of violence in his work. There is a consciously manipulated progression in his use of violence and an understanding of this progression is necessary if Hemingway is to be evaluated objectively as a writer. I maintain that Hemingway moved from an initial concern with the simplest form of violence to an enduring interest in the most complex forms of violence and that this development was the product of a conscious artist who maintained careful control of his material through his writing career. Many critics mention the existence of violence in Hemingway's Work, but none but Phillip Young seem to come to terms with violence as an integral, artistically functional, and meaningful part of Hemingway's ficition. Many critics talk about Heminway's obsession with death and he wrote about violence because he was a violent man. Young's theory of the traumatic neurosis fails to explain the existence of a progressively more sophisticated use of violence as Hemingway matures. My disagreement with Young is that I believe Hemingway controlled the violence that became the material of his art. I oppose Frohock's contention that Hemingway's use of violence was formless and haphazard. This study sets up three kinds of violence: physical violence, verbal violence and violence of self-aggression. Physical violence is the result of the individual's attempting to come to terms with an external, physical enviornment which is hostile or indifferent. A waiter gored by the heedless horns of a pseudo bull, an American ambulance officer in the Italian army having his leg wounded by an Austrian artillery shell, and a Key West man being shot in the stomach are examples of physical violence in Hemingway's work. Verbal violence is the result of the individual attempting to come to terms with others in relation to himself. For lovers and married people it is all too familiar. The weapon emplolyed is spoken word and the damage done is often more irreparable than that inflicted physically. In Hemingway's work love, fraternity, and comradeship are the human conditions within which acts of verbal violence take place. The bitchiness of a wife toward her husband, the frighteningly cruel monologue of a writer attempting to justify the failure of another of his human relations, and the clinical recitation of what the oder of death to come is like are examples of verbal violence in Hemingway's work. Violence of self-aggression is the result of the individul's trying to understand himself. Acts of this kind of violence are often imbued with irony and usually take place in isolation. These are acts of rending and destroying which partake neither of the physical nor the verbal method but are accomplished introspectively and lead to resignation and impotency and often end in selfdestruction. The obsessive concern about a cramped left hand by an old fisherman and a man resigned to death in life and a cardiac case who overexerts himself with purpose are examlpes of violence of self-aggression. Hemingway'sscious investigation of vioence found a focal point in the matter of style of existence. Hemingway uses violence as a metaphor. Violence functions as an artistic means to express a condition of life. The violence in Hemingway's fiction is rarely meaningless, glorified, of without reason, It is violence used as an organic element of the work of art, violence as metaphor, and it serves to reinforce and clarify the progressively more complex and more sophisticated view of life that Hemingway developed and had to come to terms with.

Hemingway 文學에 나타난 女人象

呂永墩 대구효성가톨릭대학교 1982 연구논문집 Vol.25 No.1

Hemingway文學에 나타난 죽음과 倫理的 意識

呂永墩 대구효성가톨릭대학교 1978 연구논문집 Vol.20 No.1

Hemingway concentrates his interest on the porblem of action before everything else. Hemingway's world is, as Philp Young pointed out, a narrow one, but it may be not right and sometimes dangerous to criticize him as worthless moralist. His ethical manner on the question of value is grounded on a deep moral scepticism and is firmly trusted to the effect of strict empirical method. He rejects thinking abstractly. He must work out values for himself. He finds his way of life through action. We cannot deny the presence of death and nihilism in Hemingway literature. His work is full of violence and heath. His preoccupation with violence and death can be explained by the horror he experienced in his boyhood and during World War Ⅰ. The traumatic shock Hemingway experienced during war is directly related to his literature. Since thinking rekindles traumatic shock he bypasses thinking and jumps into the world of action. The simplest and the most fundamental is death, especially violent death. As John Killinger remarks, "death forces us to forgo the demand for explanation of everything and to concentrate on giving meaning to life through action." The Hemingway world is thick with a moral colorng. The Hemingway hero rejects the so-called traditional values and morals, as they are obscene before the concrete things. Frederic thinks that abstract words suh as glory, honour, courage, or hallow are obscene. The only sure compensation in life, the only reality to substitute for the abstract values is gratification of appetite, the relish of sensation. His new moral is "what you feel good after." There is a code to observe in the action and behavior of the Hemingway hero. As Robert Penn Warren explains, "it is the discipline of the code that makes man human, a sense of style or good form," he faces the reality, the world he hives in, accepts things and persons as they really are, and solves his own problems honeslly, without raising any disturbance. Jake and Brett keep dignity, but Cohn does not have dignity as he has no code for action. Hemingway's remark that "a great killer needs honour, courage, a good physique, a good style, a good left hand, and much luck" in DEath in the Afternoon suggests a turning point in his literature. He accepts abstract values that he formerly rejected so strictly. His work can be divided into two groups. In his work written before 1939 the hero rejects abstract values and lives in the stern reality. His hero in the work written after 1936 accepts abstract values and he dies without exception. As Frederick J. Hoffman says "Hemingway's awareness of death, his experience of it, and had led to a form of rebirth, had separated him from his... American past, from the Middle West", his escape from society has close connection with death. Awareness of death produces escape into life. Richard Drinnon says, "the American hero had been the man on the run..." The Hemingway hero escapes from America into Italy, Africa, France, Spain and the great sea. The damage or shock of violence and death being too much, the only defense for it is flight from viloence and evil. Hemingway literature, though it seems immoral and amoral, is ethical and moral. No god is in the Hemingway world, but he is not a nihilist. He is stoical and makes a challenge to death. He is inclined to be moral in his attempt to substitute eithic for religion.