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김구슬(Koo-Seul Kim) 신영어영문학회 2008 신영어영문학 Vol.39 No.-
This paper deals with the complex aspects that are revealed in the process how the poet as a perceiving subject recognizes the object, focusing on her first poetry book, Notes from the Divided Country published in 2003. The poet, whose consciousness is basically rooted in the historical trauma of her divided country, Korea, tries to unify the dissociated consciousness through her own historical imagination. As Suji Kwock Kim said, she gets her poetic materials from the history of her native country, and also gets her poetic inspiration from the circumstances of her divided country. The origin of her consciousness that is derived from the divided country is closely related with the nature of dissociated consciousness of modern man. The characteristics of Suji Kwock Kim’s poetry lie in her historical imagination through which her poetic themes are extended to the universal ones of the human kind.
김구슬(Kim Koo-seul) 한국외국어대학교 영미연구소 2017 영미연구 Vol.39 No.-
T. S. 엘리엇의 형이상학은 주체와 객체, 감성과 이성의 통합을 그의 철학적, 미적 발전의 이상으로 삼고 있다는 점에서 플라톤 이래 전개되어 온 이원론적 유산에 대한 끊임없는 길항의 산물로 읽을 수 있다. 이 글에서는 근대 예술철학사의 두 거장인 엘리엇과 니체의 예술론을 통합의 관점에서 비교 분석함으로써 근대 예술철학의 특징을 고찰하고 이를 통해 새로운 미래를 전망해보고자 한다. 브래들리 철학을 지적 토대로 삼은 엘리엇은 지성과 감성이라는 예술철학적 주제를 주관과 객관이라는 인식론적 주제로, 그리고 현상과 실재라는 형이상학적 주제로 변용시키면서 통합의 주제를 자신의 예술론의 기초이자 궁극으로 삼았 다. 니체 역시 『비극의 탄생』에서 아폴론적 지성과 디오니소스적 감성의 통합을 그리스 비극의 최고의 경지로 보고 있다. 니체는 통합의 원리에 근거한 예술 론을 『비극의 탄생』 뿐만 아니라 이후의 자신의 저술에서 지속적으로 개진해 나간다. 양자의 예술론은 역사철학의 발전 과정을 따라 지성과 감성, 주관과 객관, 현상과 실재 등의 주제로 변용 논의되어왔다. 이러한 형이상학적, 역사철학적 주제는 모순과 갈등의 시대를 살아가는 오늘날 예술의 최고 경지인 조화와 통합의 세계를 보여줌으로써 이를 통해 미래의 예술과 인간이 나아가야 할 방향을 제시해줄 것이다. This paper aims to examine the characteristics of modern aesthetics and to foresee the new art of future by comparing and analyzing T. S. Eliot’s theory of art and that of Nietzsche from the viewpoint of unity. Eliot thought of the theme of unity as the basis and the ultimate purpose of his theory by transforming the theme of aesthetics of reason and emotion to that of epistemology of subjectivity and objectivity based on F. H. Bradley. On the other hand, Nietzsche seeks to fuse the Apolline art of reason and Dionysiac emotion into a harmonious unity in his first book, The Birth of Tragedy in an attempt to overcome the duality of the two kinds, regarding them as the origin and aim of the Greek tragedy. Nietzsche continues to develop the theme in his later books including The Birth of Tragedy. Their theories of art have been discussed in diverse perspectives since Plato. The unity of Eliot and Nietzsche will surely throw a light of hope, significant though feeble, to those living in this world of agony and disorder, by enabling us to dream a consummate unity of subject and object, and man and nature.
김구슬(Kooseul Kim) 한국동서비교문학학회 2014 동서 비교문학저널 Vol.0 No.30
T. S. Eliot has continually searched for the unity through his literary theory and practice in a world of contradiction and dissociation. This paper gives a critical examination of the nature of the poetics of unity that Eliot found in Dante, based on Eliot’s texts on Dante including “Dante” (1920), Dante (1929), “What Dante Means to me” (1950), “The Clark Lectures” (1926) and “The Turnbull Lectures” (1933). Unity, one of the characteristics of classicism refers to literary and philosophical monism in that feeling and thought, subject and object, matter and mind(soul) do not fall apart but are united in one, as set forth in F. H. Bradley’s ‘immediate experience’ on whose monistic epistemology Eliot wrote his doctorate dissertation, and the theories of the “sensibility of unification” and an “objective correlative.” The period during which Dante lived, as Eliot mentioned can be defined as that of unity in various respects. Furthermore Dante’s works also show the characteristics of the poetics of unity. The focus will be on presenting how the discussions of metaphysical and philosophical poetry, and allegory are closely connected with the themes of the poetics of unity, which will ultimately highlight the nature of Dante’s poetry and also that of Eliot’s poetic pursuit.
라포르그의 목소리 : 엘리엇의 『삼월 산토끼의 노래』를 중심으로
김구슬(Koo-Seul Kim) 신영어영문학회 2006 신영어영문학 Vol.34 No.-
This paper aims at examining Jules Laforgue’s voice in T. S. Eliot’s Inventions of the March Hare: Poems 1909-1917, which was posthumously published by Christopher Ricks in 1996. As Eliot confessed in 1950 in an essay, “What Dante Means to Me,” Laforgue was the first to teach him how to speak, to teach him the poetic possibilities of his own idiom of speech (TCC 126). Eliot’s early poems, like “Goldfish” and “Suite Clownesque” written in 1910, show strong imprints of Laforgue’s way of speaking. The evasive, self-mocking and ironic Laforgue must have become deeply imbedded in Eliot’s memory. This paper investigates how Laforgue’s characteristic form of expression was transformed into Eliot’s, and was developed in Eliot’s posthumous poems like “Goldfish” and “Suite Clownesque” in Inventions of the March Hare.