Yeats in Albright : Poetics of the Modernist and Post-Modernist (for the late Professor Daniel Albright)

Young Suck Rhee 한국예이츠학회 2015 한국예이츠 저널 Vol.46 No.-

이논문은예이츠의시에비추어올브라이트가최근에발표한새롭게(포스 트)모던하게창작한 시의시학에 초점을 맞추어우리의 당대의시인 대니얼 올브라이트의 시를읽으려는시도이다. 올브라이트는자신이예이츠의영향에있다고생각하지는못했을 지 모른다. 그러나 그는, 예이츠가 젊은 시절 블레이크의 시를 편집했던 것처럼 예이츠의 모든시를편집한바있다. 예이츠학자로서저자는올브라이트의시에서예이츠의반향을 들을수있다. 이논문은예이츠의시를새롭게조명할수있을것이며앞으로포스트모던한 시들이 올브라이트 시가 보여주는 방법을 취할 수도 있을 것이다. My paper makes an attempt to read Yeats’s poetry in the light of new poetry our contemporary poet, Daniel Albright, has written by focusing on the Yeatsian poetics renewed and (Post-)Modernized in Albright’s recent poetry in comparison with Yeats’s. Albright may never have thought he was under the influence of Yeats, but he has edited all of Yeats’s poetry, just as Yeats has edited Blake’s poetry when young. As Yeats scholar, I hear the Yeatsian echoes in Albright’s poetry. This reading is to help throw new light on Yeats’s poetry and give some direction Post-Modern poetry may take as exemplified in Albright’s poetry.

Invention Rules:A Look into the Creative Process of Yeats's "Sailing to Byzantium"

Rhee,Young-Suck 漢陽大學校 人文科學大學 1989 人文論叢 Vol.17 No.-

좋은 글을 쓰는 일은 쉽지 않다. 더욱이, 다른 사람들에게 훌륭한 글을 쓰도록 가르치는 일은 더욱 힘들다. 지금까지 작문하면, 학생들에게 글을 쓰게하고 완성된 글을 문법적으로나 주재상으로 범한 오류를 지적하고 수정하는 것으로 만족했었다. 그러나 Richard E. Young등의 학자들은 학생들에게 보다 적극적인 방법으로서 글의 창안(invention)에서 부터, 독자와 필자 사이의 관계 정립을 거쳐, 문장, 수정, 문체, 등에 이르기까지 작문의 전과정을 해부함으로써 글쓰는 일이 기계적인 것이 아니라, 어떤 창조적 과정을 거치는 작업임을 강조한다. 따라서 이들이 가장 중요시하는 부분이 창안(invention), 즉 글쓰기 직전의 모든 영역이며, 이를 분석 정리하여 법칙(maxim)으로 제시하고 있다. 본고에서는 이 법칙을 통해서, Yeats의 시를 분석함으로써 좋은 글이란 스스로 생성하는 것이 아니라, 작자의 창조적 사고 과정을 거친다는 점을 두드러지게 보여주고 있다.

비전형적인 임상양상을 보인 에크린 혈관종성 과오종 1예

이태호,노영석 한양대학교 의과대학 2001 한양의대 학술지 Vol.21 No.2

Eccrine angiomatous hamartoma (EAH) is a rare benign cutaneous lesion. EAH is usually a single, aymptomatic lesion that appears as a nodule or plaque on the extremities, mainly the legs. Hyperhidrosis and/or pain may be present. Histologically, it is characterized by the proliferation of well-differentiated eccrine glands, in close association with well-differentiated, this-walled venules and capillaries in the dermis to the subcutis. We report a case of EAH showing atypical clinical appearance of fat hlrnia on the both heels in a 50-year-old female patien.

Time and Space in Yeats and Stein: Reading Meditations in Time of Civil War and Tender Button

Rhee, Young Suck 한국예이츠학회 2010 한국예이츠 저널 Vol.33 No.-

Yeats and Stein are both modernists. The one lived in Dublin; the other lived in Paris. Both revolutionized poetry and novel in their own way. Yeats’s poetry displays the highest degree of form that gives sense of time and space; he relies on tradition to achieve it, whereas Stein invents a totally new way of writing in order to make new sense in prose. This paper attempts to show how to read Yeats’s Meditations in Time of Civil War and Stein’s Tender Buttons. We see Yeats’s poems in it as well woven embroidery in spatial and temporal terms. The more you pay attention to form in his poetry, the more marvelous, sensuous feel of the poems’ texture you have. In the meantime, in different ways than Yeats, Stein’s prose flows like time smoothly, perfectly, like music; if you take time to think, the making of sense is broken; if you just let yourself feel the sensation that the flowing of words and sentences guide you, sense makes sense makes sense, in Stein’s idiom.

Yeats and Maud Gonne and “A Bronze Head”

Rhee, Young Suck 한국예이츠학회 2009 한국예이츠 저널 Vol.32 No.-

I look at the images of Maud Gonne in Yeats's Bronze Head. The bronze head is a sculpture made by Lawrence Campbell, which is in the Municipal Gallery of Modern Art, Dublin. When Yeats saw it, he must be shocked; she is old, and yet she looks magnificent. In the bronze work, Yeats sees Maud Gonne as human, superhuman, and supernatural, as well. He puts down all that occurs to him, from the very first encounter, when she walks like a goddess, not without wildness, though, to the image of Cathleen-like soul, to the image of her being supernatural with a sterner eye. All this enriching vision is made possible in this last poem of his; it is a conclusion to his poetry that is a history of a great heart craving for life for anther great heart; it is the best paean dedicated to a Goddess in his heart.

Poet-Painters: Yeats, Picasso, and Kim Hongdo

Rhee, Young Suck 한국예이츠학회 2007 한국예이츠 저널 Vol.28 No.-

The paper analyzes three artists by looking into their art works; Kim Hongdo and Picasso and Yeats. Kim is the greatest painter Korea has ever seen in history, and Picasso is the greatest painter of the last century, whereas Yeats is the 20th century greatest poet. What they have in common is the literati painting in them. The first two were painters, well versed in poetry. Kim did not create poems, but poems in pictorial images; the best paintings were created toward the end of his life, after a life-long effort to perfect his strokes in calligraphy. His three-pause execution of a stroke is the key to his perfection of his art. When it reaches the limit of perfection in art, its strokes resemble nothing in the world, an astounding feat in art. The effect the sum of strokes makes in a work of his is tantamount to the pure abstraction of soul in Yeats's supreme poetry, and to the pure abstraction, or the pure form of Picasso's painting. It is quite natural that the pure abstraction in Picasso evokes the most beautiful sentiment toward the whole humanity. Picasso's secret to his great art must be his literati temperament in art.

The Supernatural Elements as Metaphors of Life in W. B. Yeats's Purgatory and Haruki Murakami's Kafka on the Shore

Rhee, Young Suck 한국예이츠학회 2010 한국예이츠 저널 Vol.34 No.-

Yeats and Murakami are writers who believe in spirits. They both treat them as if they are real. Yeats's Purgotory is a story of Father and Son, Father killing his own son to disrupt the cycle of Life that is tainted, whereas Kafka on the Shore is a story of Mother and Son, Mother causing all the tragedies in Kafka's father, sister, and himself. Kafka's mother is a person of Memory that stays constant, which is the origin of all the tragedies, and refuses to flow with time; and Son intervenes in her Fate, changing her and himself. The leitmotif of the novel is the Oedipus complex. In the meantime, Purgatory is a practice of Yeats's religious system of Life and humanity. In the play, the two kinds of people are illustrated by Father and Son; Father can see the invisible, ghosts, but Son cannot. The play is based on the conception of souls being born again and again in endless cycles. To disrupt it Father kills his own Son, as he had killed his own Father. It is beyond the moral of the world, killing his own son, following his own belief. Both works could be read as a metaphor of life. One relies on psychology, and the other relies on mythology. Murakami may have read Yeats, and Yeats might be interested in Murakami if he lived and read him. Murakami is in a position to deal with this kind of subtle subject in a subtle way, because he is a writer of the East well versed in the West. In the same way, Yeats was in a unique position, who was familiar with things eastern. Hence, their works manifest strong inclinations toward mysterious milieu, most prominently what is supernatural.

Korean Poetry Through W. B. Yeats: Kim Chunsoo and Kim Jonggil

Young Suck Rhee 한국예이츠학회 2008 한국예이츠 저널 Vol.30 No.-

The paper searches parallels between English and Korean poetry as represented by Kim Chunsoo and Kim Jonggil, two of modern and contemporary poets in relation to W. B. Yeats. It clarifies the validity of such a comparative study by showing the interrelationship in the visual art, for it is there physically to see, as exemplified by the giving and receiving of Picasso and Matisse through their works. Even though it is not that easy in poetry, it is nevertheless possible to relate such relationship in it. Yeats has been a great influence on English and American poets; and a large number of researches and studies have been done. But Yeats has not been compared with Korean poets, in part because Korean and English are totally different languages. But as this study has shown, this kind of study could give benefits to both scholars and writers as well. This paper selects two of Kim Chunsoo’s early poems to compare with Yeats’s parallels. The fact is, Yeats’s poems seem to have had influence on the early Kim. Kim's poetry is different, though. What we could benefit from this study is that Korean poets need not worry about influences from great foreign poets. Understanding foreign language poetry helps Korean poets enrich their own poetry by learning what their true self is, what language Korean is; Kim must have learned that from reading Yeats. The paper takes and analyzes Kim Jonggil in relation with Yeats. Kim Jonggil is different from Kim Chunsoo; Kim Jonggil teaches Yeats and other poets in English. But what interests me is he is far different from other Korean poets. He seems to have transcended foreign influences, not to mention that he has outgrown Yeats and other English poets. Two of Kim’s poems are elaborated in relation with Yeats’s. I deal with Kim’s supreme poem with one of Yeats’s best. Kim’s quality compares well with Yeats’s, but his poetry itself is different from Yeats’s.

Deconstruction and Decreation: Yeats, Stevens, and Picasso as Poet and Artist

Rhee, Young Suck 한국예이츠학회 2006 한국예이츠 저널 Vol.26 No.-

The paper defines two key terms of the last century: Deconstruction and Decreation. Emphasis is put on the second term, as it is useful to understand how Stevens composed his poetry and what he wanted to say about form and content in poetry in a modern context. In his essay The Relations between Poetry and Painting he talks about the term Decreation, which means the modern sensibility and mind that eye reality. Stevens' definition of decreation seems to fit well in some of Yeats's poems, the fact of which proves that it can be applied to modern poetry in general, as it has gone through the same soil and climate. Picasso exemplifies and consolidates the usefulness of the terms decreation and deconstruction. Stevens has made one term current and useful for deepening the understanding and appreciation of modern and contemporary poetry, and possibly modern and contemporary art.

The Poetic Moment of Moments in Yeats, Stevens, and Eliot :Reading of Three Poems, “The Long Legged Fly,” “SundayMorning,” and “The Love Song of J. Alfred Prufrock”

Young Suck Rhee 한국예이츠학회 2005 한국예이츠 저널 Vol.23 No.-

The last century saw three great poets: Yeats, Eliot, and Stevens. They each had created new poems different from the previous ones. The current topic finds Eliot most discordant from the other two, who has started from Romantic poetics. By Romantic I mean that the poet grew out of Romantic poetics and/or is Romantic temperamentally. In Eliot's case, because of his stance on Romanticism and his educational background, unfortunately, both poets and scholars have been blinded to the fact that Eliot is deeply Romantic, stylistically and temperamentally. Read any portion of any poem by Eliot; it is there in the very poem, such as Prufrock. It indeed is a good poem, witty and modern. But the drawback with Eliot is he is exclusive, thus the poetic range is limited. Compared with him, Stevens is a pure Romantic, who profoundly succeeds in renewing Romantic poetics in modern times, as evidenced in Sunday Morning. Which is the counterpoint to Milton's Paradise Lost. Of course, in terms of poetic gestures. Yeats is, compared with Eliot and Stevens, unique. He is against science, and goes back to myths and folklore and man. His Long-legged Fly is the epitome of his great poetics, a victory over the materialistic society of last century. Still, it is hard to understand how he could go over what seems to have been an impossible barrier, with such an outmoded thing, as mysticism, mythology, Romanticism, that all thought dead.