『T. S. 엘리엇 연구』의 현황과 전망

최희섭 한국T.S.엘리엇학회 2006 T.S. 엘리엇 연구 Vol.16 No.1

Hie-Sup ChoiThe first issue of The Journal of the T. S. Eliot Society of Korea was published in 1993, two years after the establishment of The T. S. Eliot Society of Korea in 1991. The society published the eighteenth volume of the journal on December 31, 2005. At first the journal was issued annually but since the year 2000, it has been published biannually. It can be said that the journal has been being developed both in quantity and in quality.The aim of this paper is to check the present of the journal and to prospect the future. As there is no precedent, the method I take is to examine how many scholars cite the journal in their papers. Amazingly enough, it turns out that very few scholars seem to read the papers published by other Korean scholars. Only 30 papers out of 132 papers published in this journal acknowledge that they cite papers issued in Korea. Among 30 papers, only 14 papers cite other scholars' papers published in this journal. One scholar cites his/her papers published in this journal and two scholars cite other scholars' papers presented in the society's conference. Only 22 authors show the evidence that they read other scholars' papers at all. Only 11 scholars from 63 authors cite other scholars' papers published in this journal. All these numbers make us wonder whether we should continue to maintain this society and to publish this journal. That's why I check the present of the society. There seems to be lots of problems in the running of the society. But they can be corrected sooner or later. We can hope for the future of the society and the journal, when the executive officers, such as president, vice presidents, secretary general, and treasurer, try to make the society and the journal better.

유기론적 전통과 엘리엇의 비평: 객관적 상관물을 중심으로

이윤섭 한국T.S.엘리엇학회 2009 T.S. 엘리엇 연구 Vol.19 No.2

This article aims to interpret T. S. Eliot’s doctrine of the objective correlative in terms of the European tradition of organicism. A consideration of the organic implications in Eliot’s major critical concepts, such as “a whole of feeling,” “unified sensibility,” and “depersonalization,” reminds us that Aristotle, Longinus, and Horace also highly valued the organic relation between the part and the whole and the organic unity of thought and feeling in great classical poetry. S. T. Coleridge had imported organic ideas from German thinkers and applied them to his Shakespearean criticism. Refuting the neo-classical view that Shakespeare failed to give an adequate verbal form and organized structure to his talent, Coleridge insisted that “no work of genius dares want its appropriate form,” and eulogized Shakespeare’s organic verbal structure equal to his genius. But, contrary to Coleridge, Eliot underestimated Hamlet as an artistic failure on the ground that Shakespeare could not find the objective correlative equivalent to Hamlet’s bafflement. However, it is worth noting that in the course of denouncing Hamlet, Eliot invented his doctrine of the objective correlative, which is an adoption of the organic principle inherited from S. T. Coleridge and Gottfried Leibniz. In his Knowledge and Experience, Eliot noticed that, having essential organic features, Leibniz’s windowless monad was very similar to F. H. Bradley’s concepts of the finite centre and immediate experience. In these concepts of holistic and empirical idealism, the distinctions between the subjective and the objective, spirit and matter, self and the world, feeling and image, and form and content cannot be maintained for their mutual interdependence. So, it should be said that the concept of the objective correlative was a special application of Eliot’s general principle of “the unity of feeling and objectivity,” for feeling and objectivity are only discriminated aspects of the whole experience. He remarked that there was the mutual inclination of mental feeling and verbal image to react upon one another so inexplicably that the relation should be said to be organic. Therefore, the organic features implied in his critical concepts and, in particular, the doctrine of the objective correlative confirms that he achieved a rapprochement between modern poetics and traditional authority.

T. S. 엘리엇 80년 연구사

김양순 한국T.S.엘리엇학회 2017 T.S. 엘리엇 연구 Vol.27 No.1

This study examines an eighty-year research history of T. S. Eliot, who has been highly acclaimed in Korean literary and academic society. In the book chapter entitled “A Fifty-Year Research on British Poetry” in 2006, I classified the 1950s and 1960s as the decades of importing and introducing English poetry; the 1970s as the decade of enlarging the scope of research; the 1980s as one of deepening research; the 1990s as a prosperous decade of various analytical methods and theories; and the period after 2000 as one of continuing the research directions of the 1990s, but centering around more issues of contention. Moreover, academic associations, conferences, and journals have been contributing to quantitatively expanding the research and bringing about a profound shift in literary and critical trends in English studies in Korea. This paper will start with a brief survey of translations, newspaper articles, papers, and books on T. S. Eliot before the first issue of the Journal of English Language and Literature was published in 1955, and then will move on to the periods from roughly the mid-1950s to the present, examining avenues of Eliot research covering translations, memoirs, essays, academic papers, books, theses, and dissertations. This study also aims to speculate on future research trends on Eliot in Korea.

T. S. 엘리엇의 「작은 영혼」과 T. E. 흄의인간 본성에 대한 “종교적 태도”

허정자 한국T.S.엘리엇학회 2016 T.S. 엘리엇 연구 Vol.26 No.2

T. E. 흄은 인간은 본질적으로 선하다는 인간에 대한 “인본주의적 태도”와 인간은 원죄를 갖고 태어난 본성이 악한, 고정된 그리고 한정된 존재라는 인간 본성에 대한 “종교적 태도”를 대비시킨다. 흄은 인간 본성에 대한 “종교적 태도”를 가진다. 따라서 흄은 인간을 다스릴 훈련, 질서 그리고 조직이 필요하다고 말한다. 또한 흄은 인간은 불완전하기에 필연적으로 완전한 존재인 하나님을 믿게 된다고 언급한다. 흄의 영향으로 흄과 유사한 인간관과 도덕관 그리고 종교관을 갖게 된 T. S. 엘리엇은 「작은 영혼」에서 인간의 한계성을 인정하며 인간이 올바르게 성장하기 위해서는 훈련이나 억제 그리고 기도 같은 초월적 힘이 필요하다는 도덕적 안내자의 모습을 보여준다. 본고에서는 이런 점에서 결국은 죽음으로 끝나버리는 허망한 인간의 성장을 흄의 인간에 대한 “종교적 태도”를 통해 살펴보면서 엘리엇의 「작은 영혼」에 그려진 삶에 도덕적이고 종교적인 의미를 부여해보았다.

T. S. 엘리엇 작품과 여인들 ―에밀리 해일을 중심으로

양재용 한국T.S.엘리엇학회 2013 T.S. 엘리엇 연구 Vol.23 No.1

This paper intends to reveal Emily Hale’s positive influences to Eliot’s poems and plays. Emily Hale who was 40-year-old lover and friend with T. S. Eliot contributes and influences so much the life and the works of T. S. Eliot as the muse. T. S. Eliot didn’t want to disclose his personal evidences such as letters and recordings, because of the fact that he loved Emil Hale for 40 years as well as his guilty consciousness toward his first wife. T. S. Eliot had a deep religious feeying, so he felt a contrition that is much shameful to the death of his former wife, Vivien Haigh-Wood, because he met Emily Hale while his wife died in mental hospital. That’s why he tried to hide all his personal evidences. Critics who studied Eliot’s biographical influences on his works evinced Hale’s contributions to Eliot’s works. Eliot eventually destroyed her letters sent to him, but Hale bequeathed her collection of over a thousand of his letters to her to Princeton, under the restriction that they will not be opened to the public until January 1, 2020. No one but Hale, and maybe the processing archivist, has ever read them. If the day comes to open the letters, the relations and clues between Eliot’s mysterious works and his life will be clearly revealed. The facts and truths of hidden Eliot’s life in letters and recordings will be the evidences of a new horizon to interpret Eliot’s poetry and poetic drama as symbols and allegory.

T. S. 엘리엇의 신학사상

이홍섭 한국T.S.엘리엇학회 2020 T.S. 엘리엇 연구 Vol.30 No.1

The main purpose of this article is to draw a map for the accurate understanding of T. S. Eliot’s theological thought by closely examining recent studies on this agenda, which include Spur’s “Anglo-Catholic in Religion”: T. S. Eliot and Christianity (2010), T. S. Eliot and Christian Tradition (2014), Domestico’s Divine Cartographies (2016), and Soud’s Poetry and Theology in the Modernist Period (2017). Instead of merely summarizing the content of these critical works, the article seeks to objectively revaluate them and, thereby, serve as a stepping stone for more advanced study on Eliot as a theological thinker. Spur’s monograph, which provides the first detailed analysis of Anglo-Catholicism’s lasting impact on Eliot’s Christian thought, tends to look into Eliot’s works too narrowly with the ‘fixed eyes’ of its doctrinal principles, especially Incarnation. T. S. Eliot and Christian Tradition, though illuminating the influence of French Catholic writers and the Neo-Thomism, which has been heretofore ignored, in general overlooks the importance of Karl Barth and other Protestant theologians in shaping Eliot’s theological thought. Despite an insightful account of Eliot’s growing interest in Barth’s Neo-Orthodoxy, Domestico fails to locate it accurately on the map of Eliot’s Christian thought. Unlike Domenisco, Soud delves into the traces of Barth’s theology in Eliot’s Four Quartets, yet this painstaking excavation, without persuasive analysis, falls into the mechanical juxtaposition of two thinkers.

엘리엇 문학의 대중문화적 요소: 『투사 스위니』를 중심으로

최영승 한국T.S.엘리엇학회 2008 T.S. 엘리엇 연구 Vol.18 No.1

T. S. Eliot shows interest in the popular writers such as Wilkie Collins and Charles Dickens as well as in the classical writers. He employs the elements of popular culture, including mystery thriller techniques and jazz rhythm so that religious themes can survive in the secular plays. However, only a few critics have written on this aspect, and the subject of popular culture and its relation to this work deserve more attention. This study aims to analyze T. S. Eliot's Sweeney Agonistes by discovering the elements of popular culture such as the techniques of the detective novel, jazz rhythm, knocks, and the ringing of the bell which play an important role in the work both as a dramatic device and a theme with religious and secular connotations. Eliot took a significant step towards reviving religious drama in the secular theater by using popular elements. For him such a revival was a matter of great cultural significance. In fact, they are devices not only to explain his Christian ideas but also to illuminate the thematic pattern of his later plays. He makes symbolic use of elements inherent in popular culture, which itself as a genre may provide only the cheapest entertainment and are seemingly empty of any serious purpose. But he did not employ them merely to entertain his audience, but managed to convey significant religious meaning through them.

엘리엇의 시간 읽기: 네 사중주에 나타난 “시간”과 “과거”를 향한 인간의 지향점 탐구

이철희 한국T.S.엘리엇학회 2019 T.S. 엘리엇 연구 Vol.29 No.3

실상 우리는 과거, 현재, 미래라는 세 종류의 시간 속에 익숙한 채 살아가지만 엘리엇이 『네 사중주』를 통하여 정의한 시간은 우리의 그것과는 대조를 보인다. 그 차이는 엘리엇이 신학적 관점에서 시간에 접근하기 때문이다. 그래서 엘리엇의 경우 과거, 현재, 미래 모두가 순간의 연속이라 할 수 있다. 그러므로 이 연구에서 집중한 과거 역시 현재와 밀접한 관련이 있다. 그래서 엘리엇은 현재의 시각에서 과거를 재조명할 필요성을 역설한다고 볼 수 있다. 엘리엇은 자신이 네 장소에서의 체험을 현재의 시각에서 재조명되기를 소망하면서 이를 보는 시각 역시 ‘초탈’을 강조한다. 즉, 자기 자신과 타인과 역사적 사건 등에 대하여 ‘초탈’의 자세 유지를 우리에게 요구한다.

T. S. Eliot and Paul Valéry: 1926-1929

안중은 한국T.S.엘리엇학회 2019 T.S. 엘리엇 연구 Vol.29 No.3

The purpose of this paper is to explore, from the perspective of biographical criticism, the relationship between T. S. Eliot, the greatest English modernist poet, and Paul Valéry, the greatest French Symbolist poet during the years 1926-1929. This paper is to thoroughly trace the mutual relationship and the influential interaction between Eliot and Valéry mainly through the nexus of The Letters of T. S. Eliot 3: 1926-1927 (2012) and The Letters of T. S. Eliot 4: 1928-1929 (2013). Although Eliot’s brief encounter with the French poet and critic at a London reception in 1927 inevitably and repeatedly triggered unpleasant feelings, the editor of The Criterion and a board member of Faber & Gwyer positively and supportively mediated in trying to have Valéry’s friend and adjutant William McCausland Stewart’s and the latter’s friend Thomas McGreevy’s English translations of Valéry’s French prose and verse published by Faber & Gwyer or the Hogarth Press or Jonathan Cape in place of the Criterion Press. Thanks to Eliot’s insistent endeavors through his correspondence, however, McGreevy’s translation Introduction to the Method of Leonardo da Vinci was published by John Rodker in 1929 and Stewart’s translation Eupalinos or The Architect finally not by the Hogarth Press but by the Oxford University Press in 1932. In short, numerous English and/or French letters of Eliot, Valéry’s translators, Leonard Woolf the publisher of the Hogarth Press, a mutual friend of W. B. Yeats and Eliot Thomas Sturge Moore the poet-critic, and other men of letters over a period of four years intensively reveal the two masters’ trustworthy and respectful friendship especially with regards to publication of English translations for the worldwide spread of the French poet-critic’s work.

엘리엇 문학의 대중문화적 요소 - 『투사 스위니』를 중심으로

한국T.S.엘리엇학회 2008 T.S. 엘리엇 연구 Vol.2008 No.1

<P>T. S. Eliot shows interest in the popular writers such as Wilkie Collins and Charles Dickens as well as in the classical writers. He employs the elements of popular culture, including mystery thriller techniques and jazz rhythm so that religious themes can survive in the secular plays. However, only a few critics have written on this aspect, and the subject of popular culture and its relation to this work deserve more attention.</P><P> This study aims to analyze T. S. Eliot"s Sweeney Agonistes by discovering the elements of popular culture such as the techniques of the detective novel, jazz rhythm, knocks, and the ringing of the bell which play an important role in the work both as a dramatic device and a theme with religious and secular connotations.</P><P> Eliot took a significant step towards reviving religious drama in the secular theater by using popular elements. for him such a revival was a matter of great cultural significance. In fact, they are devices not only to explain his Christian ideas but also to illuminate the thematic pattern of his later plays. He makes symbolic use of elements inherent in popular culture, which itself as a genre may provide only the cheapest entertainment and are seemingly empty of any serious purpose. But he did not employ them merely to entertain his audience, but managed to convey significant religious meaning through them.</P>