밴브러의 『 재발 』 에 숨겨진 포핑턴 경의 이미지

이병은 한국고전중세르네상스영문학회 2021 중세근세영문학 Vol.31 No.3

John Vanbrugh had some reasons to hate and satirize Louis XIV. As an Englishman, he would have held a natural antipathy towards Louis. Vanbrugh was a Whig who had resented James II’s pro-French attitude, while Louis sheltered and backed James. Moreover, Vanbrugh was arrested on the order of Louis and held in prison from 1688 to 1692. This paper argues that, in The Relapse, Vanbrugh provides Foppington with a number of Louis’s traits, and allusions to people and events in Louis’s life to connect between the two. For example, Louis’s Hall of Mirrors at Versailles is ridiculed through a stinging accusation of Foppington’s vanity, and Louis’s designation of Le Roi Soleil is compared with Foppington’s eclipse statements. To the contemporary audience, Louis’s physical cowardice, wretched doctors, disdain for books, rigidly structured day, and an admirable degree of self-control would have been easily recognized in Foppington. .

『투사 삼손』: 폭력, 죽음, 살아남은 자들의 선택

황원숙 한국고전중세르네상스영문학회 2004 중세근세영문학 Vol.14 No.2

It is not easy to read Milton's Samson Agonistes which has been the subject of dispute for its violence and massacre. After 911, John Carey wrote an article on Samson Agonistes and criticized Stanley Fish's, though not without waver, praise of Samson's act as moral act of God's chosen person. He pointed out the similarities between Samson and the real world violence of the 911, both of which could be justified as divine acts by the supporters. He, therefore, suggested to exclude Samson Agonistes from the reading list. In fact, in Samson Agonistes, we meet the characters who acknowledge the violent physical ability of Samson as disposition of Providence. Violence, however, is often criticized as well and is not always a signifier of God's grace, which becomes clearer after Samson destroyed the theater and killed (by accident, according to Milton's point of view) himself. The results of violence and massacre are left to be interpreted and are anything but indisputable God's grace. Samson Agonistes rather asks us to think about how to get oneself out of the unjust pressure and what is the result of the violence as a possible alternative in an impelling situation than simply exhorts us to praise his act. Therefore, even with deep understanding on Carey's worries and after the painful experience in the real world, Samson Agonistes should be kept in the reading list.

나함 테이트의 『리차드 2세』 각색본의 재평가: 작가의 의도와 해석의 거리

공성욱 한국고전중세르네상스영문학회 2009 중세근세영문학 Vol.19 No.2

The idea of this study arose from the dramatic history of Nahum Tate’s Richard II, adapted from Shakespeare in 1680 and doomed to be banned, in its third performance, by the political authority. The ban puzzled and angered Tate to no end. I therefore set the objective of this paper to research how and why Tate changed the original into his new version, through which I try to find his intention and provide a new perspective on the evaluation of this play. Many critics agree that among Shakespeare’s 10 histories Richard II is the most problematic that treats all the sensitive episodes regicide, treason, dethronement which history play may cover. Also this play, from Shakespearean(Elizabethan) Age to the present has been interpreted mainly in political point of view that shows much coincidence with the social and political environment of the age Tate decided to adapt the original. Tate’s contemporaries wished to keep the stability in their nation in political and social aspects and have a fear to return to the destructive and dark experiences of the past Puritan revolutionary government and Interregnum. With this social and general wish and agreement, the political authority, as a judge of the play under the name of censorship, regards Tate’s as a potentially inflammatory material because it decided that the themes this play treats show much resemblance to the problematic political current of the Stuart kingship with religious conflict between Catholic and English Protestant. But Tate, in Richard II, as a faithful royalist dramatist who supports the Torian spirit, while Shakespeare keeps silent and doesn’t take any side between Richard and Bolingbroke, clearly evaluates the two antipodic powers Richard as a moral being and the rightful successor of the kingship with an attractive colors and Bullingbrook, with a dark shadow, as destructive and cunning traitor. In his epistle in printed version, in 1681 of Richard II, Tate reveals his intention above mentioned to enlighten the people of the age confidently and clearly and his resentment for the negative judgment on his play also.

풍자비극으로 본 『아테네의 타이먼』

박효춘 한국고전중세르네상스영문학회 2023 중세근세영문학 Vol.33 No.1

Through this study, the writer found that the reason for Timon’s bankruptcy was that he neglected personal financial management and overspent money. In addition, the cause of his tragic situation was less directly related to his financial bankruptcy. Therefore, in this study, the following two reasons are identified for his tragic fate and his tragic end. First, his hasty and extreme personality flaws are because he made a bad choice. Second, because he usually showed off his superiority while living a luxurious life beyond his means, he was not truly loved by his friends and did not create a true friendship based on the spirit of reciprocity with them. Finally, it is thought that this work was created as a result of Shakespeare’s attempt to break away from the traditional pattern of existing tragedies and attempt a new and natural form of tragedy. 필자는 본 연구를 통해서 타이먼이 파산하게 된 원인은 그가 개인 재정관리에 소홀했고 돈을 과소비했기 때문임을 알아내었다. 또 그가 비극적 상황에 처하게 된 원인은 그의 재정적 파산과 직접적인 관련성이 적었다. 따라서 본 연구에서는 그가 비극적 운명에 처하고 그래서 비극적인 최후를 맞이하게 된 원인을 다음 두 가지로 파악한다. 첫째, 그의 성급하고 극단적인 성격적 결함이 그가 나쁜 선택을 했기 때문이다. 둘째, 그는 평소 분수에 넘치는 사치스런 생활을 하면서 자신의 우월감을 과시했기 때문에 친구에게 진정한 사랑을 받지 못했고 또 그들과 상호주의 정신에 입각한 진실한 우정을 만들지 못했기 때문이었다. 이 작품은, 중세의 봉건적 가치관을 갖고 있음으로 해서 자본주의 가치관의 사회인 아테네에 부적응하여 이탈함으로 결국 아무런 자각이나 세상과의 화해 없이 비극적 생을 마감하게 타이먼이라는 인물의 비극을 풍자적 필치로 그린 셰익스피어 이전과는 형식의 풍자비극으로 생각된다.

리처드 브롬의 『즐거운 거지들』: 부랑자 연극에 나타난 자본의 원죄와 유목민적 해방의 전망

도인환 한국고전중세르네상스영문학회 2023 중세근세영문학 Vol.33 No.1

This essay aims to investigate ‘the original sin of capital’ embedded in Richard Brome’s A Jovial Crew with the critical lens of the Marxist theory on the early modern economy. Previous studies have usually focused on the play’s topical allusions to Charles I’s conflicts with his parliamentarian opponents, but this study employs a perspective of long-term history and positions the play in the context of ‘the primitive accumulation of capital.’ The surface of the play produces romantic ethos surrounding Oldrents’ charities and Springlove’s vagabondage, but its deep structure keeps harsh realities of beggars unmistaken and attests to the supposition that Oldrents’ charities should be motivated by his redemptive efforts to compensate for his sexual and economic exploitation of Partrico’s family. In the conclusion, the essay tries to suggest a utopian vision alternative to oppressive norms of sedentary settlers by interpreting the supposed freedom of vagabonds in terms of Deleuzian nomadism.

고리대금업과 모험 이데올로기: 『베니스의 상인』에서 다시 쓰여지는 황금양모 신화

한예림 한국고전중세르네상스영문학회 2018 중세근세영문학 Vol.28 No.3

본 논문은 『베니스의 상인』의 고리대금업 주제가 모험 이데올로기에 대한 비판으로 작용하는 양상을 살핀다. 작품에서 포셔를 얻기 위해 감행되는 바싸니오의 벨몬트 원정은 이아손의 황금양모 원정에 비견되면서 다른 경쟁국가들을 제치고 영국이 승리한다는 경제적 국가주의 서사를 이끈다. 이 때 바싸니오-이아손의 서사는 상인 안토니오와 몰락 젠트리 계층 바싸니오를 모험 이데올로기를 공유하는 ‘탕아’로 결집시키는 동시에 샤일록의 고리대금업을 타자화하면서 구축된다. 한편 작품은 또한 탕아들의 모험 서사가 갖는 한계를 주목하여 포셔와 샤일록 통해 메데아의 입장에서 읽혀질 수 있는 황금양모의 서사를 가동시킨다. 작품 속 메데아의 서사는 베니스 탕아들이 우정을 통해 낭만화한 경제적 의미의 위험(risk)을 로맨스적 맥락의 위험인 부정(不貞)으로 번역하여 모험 이데올로기에 대한 비판의 자리를 만들어 낸다. 이 때 포셔를 통해 베니스 모험 이데올로기가 기반한 모험과 고리대금업의 대립 구도가 해체되고 ‘합법적 고리대금업’(lawful usury)의 골자가 수용된다. 그 과정에서 메데아의 파괴적인 면은 샤일록의 ‘마음의 고리대금업’을 통해 극화되는데 작품은 포셔-메데아가 위험한 샤일록-메데아를 처단하게 함으로써 마음의 고리대금업을 내치고 합법적 고리대금업을 수용하는 방식을 택한다. 궁극적으로는 포셔가 대변하는 합법적 고리대금업의 논리로 바싸니오, 안토니오의 베니스적 모험 이데올로기의 한계가 보완되며 런던의 미래로서 새로운 벨몬트가 구축된다. This paper examines how the issue of usury in The Merchant of Venice revisits the notion of adventure ideology. While Bassanio’s Belmont venture is compared to Jason’s Golden Fleece expedition, his victory in winning Portia over other competitors operates within the narrative of economic nationalism. Bassanio-Jason’s nationalist narrative is constructed upon the ideology of adventure that associates the merchant Antonio with the poor gentleman Bassanio by identifying both as prodigals against usurious Shylock. However, the play deploys another narrative from Medea’s angle through Portia to reveal the limit of the same ideology. The Medean narrative translates the economic notion of risk into the matter of sexual infidelity and supports lawful usury. Meanwhile, Medea as a murderess is dramatized through Shylock’s mental usury, his murderous intention underlying the flesh bond. As Portia-Medea executes Shylock-Medea, the play turns down mental usury on the way to accept the premise of lawful usury.

초서의 수녀원장과 스트렛포드식 프랑스어

강지수 한국고전중세르네상스영문학회 2023 중세근세영문학 Vol.33 No.1

The purpose of this essay is to reexamine the significance of the French “[a]fter the scole of Stratford atte Bowe” of the Prioress in the General Prologue of the Canterbury Tales as the recent scholarship on the multilingual realities of the late medieval England including the still vibrant life of Anglo-French has much to shed new light on the matter. Having often been perceived as shamefully provincial, inauthentic or even deformed, the Prioress’s French has somehow stood as a metaphor for its speaker, who has also been perceived as less-than-intelligent and less-than-devoted. This essay argues that a multilingual perspective, rather than a far more entrenched monoglot perspective of the nineteenth- and the twentieth-century, has much to offer toward correcting this misconception.

초기 미국문학에 끼친 밀턴의 영향

송홍한 한국고전중세르네상스영문학회 2002 중세근세영문학 Vol.12 No.2

Milton had a great influence upon American literature, especially from the colonial period through the early Republican period, He is sometimes called "the American Milton." His epithet "American" sounds persuasive when we take it into account that his republican ideas had greatly contributed to the development of the American Republic, either directly or indirectly. His influence upon American literature worked in various respects, political, religious, literary and so on. All these influences may well be literary, since all these derive from his literature. In other words, his literary influence is not limited to a literary field only but extended to other fields, political, religious, cultural, educational and so on. This essay is focused upon Milton's influence upon the early American literature, though its results may not be literary. Milton's influence upon American literature goes back to the early colonial period of America. Even before his great poems were published, Americans had already showed interest in his prose works. After the publication of his epics, they became more and more interested in his literature, especially Paradise Lost. Early American writers found their poetic models in Milton's poetry, and found their political ideas in his prose works. During the Revolution his influence was directed toward the political world. Adopting Milton's language and imagery in their political writings became popular just like a fashion. Milton was among representative political leaders for Americans who were struggling for the Revolution. Milton the poet, however, had greater influence upon the emotional respect of the Revolution. Hugh Henry Brackenridge, John Trumbull, Joel Barlow, Timothy Dwight, and Philip Freneau are major representative poets influenced by Milton's literature. These poets are sketched in terms of their dependency upon Milton. Though we may have various arguments about "what makes American literature," the American Milton worked as one influence, as John T. Shawcross admits.

『복낙원』에 나타난 언어의 회복

김종두 한국고전중세르네상스영문학회 2005 중세근세영문학 Vol.15 No.2

In his brief epic, Paradise Regained Milton traces Christ's recovery of the fallen language. The epic battle between Christ and Satan is fought almost exclusively with words, which at last ends with Christ's victory over Satan's various strong wiles. When Adam falls in Paradise Lost, so does his language. As a result of the fall, human language acquires what might be called Satanic features. However, Christ recovers what Adam lost through his firm obedience to God's words. His attitude and use of language show that how he is able to restore and renew the fallen language. Most of all, Christ's use of language reflects how much his thought is focused on God's words. When being confronted with Satan's various assaults of words he always responds and rejects them by telling God's words only. He discerns quite well what is the differences between what Satan tells and what Satan means. He also has spiritual insight and wisdom which can distinguish clearly the surface meaning of Satan's language and the deep intention of the devil's wiles. He brings back the intrinsic purpose of language which was undone by Satan's abuse of language. In particular, his absolute obedience to God's words and his waiting for God's time show that he has the excellent inner virtues enough to make him a good model for the recovery of man's fallen language.

『베니스의 상인』에 나타난 ‘개종’의 문제: 제시카를 중심으로

김태원 한국고전중세르네상스영문학회 2012 중세근세영문학 Vol.22 No.1

While focusing on Jessica and her conversion, this essay purports to investigate the ways in which Shakespeare's The Merchant of Venice is engaged in the early modern discourse on nation and race. Even though she is not as prominent as Shylock or Portia, Jessica seems to be the central character in understanding the relevance of the Jews in the formation of early modern national identity. My discussions of Jessica is expected to cast light on the ways in which early modern Europeans grappled with competing notions of religion, race and gender under the name of nation. What Jessica and her conversion remind us is that early modern nationhood must be read in connection with religion, race, and gender. By taking up Jessica as a primary figure of conversion, I suggest that the racial, theological, national tensions of early modern England come together in her escapade and marriage. Jessica's resistance to the patriarchal law drives wedge into the early modern notion of nation and national identity based upon blood and genealogy. Shakespeare's representation of Jessica's conversion through elopement and marriage, I argue, at once suppresses and reveals the cultural anxiety about the political economy of early modern English nationhood. With the Venetian investment in converting the Jews, both Shylock and Jessica, Shakespeare's play rehearses the guilt-ridden relation of Christianity to Judaism that might have dominated the psyche of early modern Europeans.