Aspects of Familial Relationship in Cathy Song's Poetry

안중은 한국현대영미시학회 2003 현대영미시연구 Vol.9 No.1

『황무지』에 나타난 죽음

안중은 한국T.S.엘리엇학회 2014 T.S. 엘리엇 연구 Vol.24 No.1

본 논문의 목적은 엘리엇의 『황무지』에 나타난 죽음을 주로 전기적 접근과 부도덕한 성애가 죽음이라는 테이레시아스의 실체적 관점에서 조명하는 것이다. 히아신스 정원, 마게이트 백사장, 선술집에서 릴의 대화, 위험 성당, 밀레 해전 등의 장면과, 바다, 템즈강, 런던교, 시티와 런던, 예루살렘, 아테네, 알렉산드리아, 비엔나 등에서 성폭행, 죽음 또는 멸망이 병치‧직조되어 죽음의 함의와 상징성을 강화시키고 있다. 요컨대, 엘리엇은 『황무지』에서 제 1차 세계대전 중 에게 해에 익사한 친구들인 루퍼트 브루크와 다다넬즈 해협에서 익사한 장 베르드날 뿐만 아니라 죽음의 기원을 하는 꾸마에의 무녀, 슈타른베르크 호수에 미쳐서 익사한 루트비히 2세, 익사한 페니키아 선원의 타로 카드, 즉 플레바스, 밀레 해전에서 익사한 스텟슨, 미쳐서 연못에 빠져 죽은 오필리아, 궁전이 파괴되어 흙속에 파묻힌 첨탑에 유폐되어 몰락한 아뀌뗀느 왕자, 다시 미치고 자살하는 이에로니모 등과 같이 미쳐서 물에 빠져 죽고 싶은 죽음에의 염원을 암시적‧상징적으로 표백함으로써 죽지 않고 재생의 방법을 찾게 된 것이다.

T. S. 엘리엇의 소설 비평

안중은 안동대학교 어학연구소 1999 솔뫼어문논총 = Solmoe review on language and literature Vol.11 No.1

T. S. Eliot's criticism of the novel includes the Russian novelist, Turgenev, the American novelists, Henry James and Nathaniel Hawthorne, British novelists such as Wyndham Lewis, Wilkie Collins, Charles Dickens, George Eliot, D. H. Lawrence, and Thomas Hardy, and the Irish novelist, James Joyce. Eliot also makes brief comparative reference to the French novelists, Stendhal and Flaubert, the Russian novelist, Dostoevsky, and the British novelists, Jane Austen, Katherine Mansfield, and William Makepeace Thackeray. A summary of this research is as follows: i) Turgenev creates local Russian color and characters in the form of contes as in his Sportsman's Sketches. ii) The cosmopolitan Henry James criticizes industrial aspects of society, following his own peculiar point of view, unaffected by other influences and ideas. iii) Hawthorne possesses a keener sense of history than James, but the affinity of both writers for "deeper psychology" differentiates them from the British writers, Dickens, Thackeray, and George Eliot. iv) The characters in Wyndham Lewis's Tarr are inhumanly intellectual, thus his technique is different from that of Dostoevsky and Flaubert. Dickens' humour and the Dostoevskian theme of "humiliation" can also be discerned. v) Eliot praises Joyce's Ulysses highly, repudiating Aldington's severe criticism, and pointing out that Joyce's originality is his manipulation of mythical method, in contrast to the traditional narrative method. vi) Comparing The Woman in White and Bleak House, Eliot regards Collins as a master of plot and melodrama, and Dickens as a successful novelist in creating characters more dramatic than real. vii) Lawrence is seen by Eliot as a heretic without moral and social senses, whereas Joyce is seen as a moralistic writer with a sense of tradition and orthodoxy, through a comparison of their short stories, "The Shadow in the Rose Garden" and "The Dead". viii) George Eliot is also considered by Eliot as a heretic, who mixed her intense personality with the barren rationalism of her time. ix) Hardy's characters are possessed with emotionalism and diabolic elements as in his A Group of Noble Dames and "Barbara of the House of Grebe". The sensualist Lawrence hates religious orthodoxy, lacks spirituality, and pursues the sick spirit, his diabolic force, for example, in The Prussian Officer surpassing that of Hardy, so that Lawrence is likened to a false prophet by Eliot, though he later changes his views. In conclusion, the critical criteria for examining the novels and novelists used by Eliot include "genres"(e.g. contes), "themes"(e.g. cosmopolitanism, humiliation, and disillusion), "historical consciousness", "deeper psychology", "humour", "characters", "personality", and "sense of tradition and orthodoxy".

Greek and Roman Myths in John Milton’s Paradise Lost, Books I and II

안중은 한국영미어문학회 2019 영미어문학 Vol.- No.133

This paper explores Greek and Roman myths in the epic poem Paradise Lost, Books I and II (1667) by John Milton, the greatest poet in the 17th-century English Renaissance period. For his Renaissance ideas of freedom, rebellion, power, war, and revolution by means of Satan, Milton employs or alludes to Greek and Roman myths including: the primeval void, Chaos; primordial deities, Uranus, Gaia, Tartarus, Erebus, Nyx, and Demogorgon; the Titans, Tityos, Enceladus, Oceanus, Saturn, Atlas, the Titaness Rhea; major gods, Jove or Zeus or Jupiter, Mulciber or Hephaistos, Athena, and Orcus or Hades; minor deities, Muse, Alcides or Hercules, Furies, and Eris; mythological figures, Orion, Adonis, Tantalus, and Ulysses; legendary creatures, Briareos, Typhon or Typhoeus, Pygmies, Python, Medusa, Gorgon, Hydra, Chimera, Cerberus, Scylla, Hecate, and Gryphon or Griffin; mythological places, Aonia or Helicon, Tarsus, Tartarus, Phlegra, Pelorus, Aetna, Styx, Creet or Crete, Ida, Olympus, Delphi or Pytho, Dodona, Thebes, Ilium or Troy, Oeta, Euboea, Acheron, Cocytus, Phlegethon, Lethe, Serbonis, Bosporus, Scylla, and Charybdis. The technique of manipulating Greek and Roman myths in Milton’s Paradise Lost, Books I and II underlies his complicated intentions, deepening his poetic symbolism, and broadening his literary perspective.

T.S. Eliot의 Four Quartets에 나타난 基督敎思想

안중은 安東大學 1985 安東大學 論文集 Vol.7 No.1

As an avowed Anglo-Catholic, T.S. Eliot had earnestly yearned for the salvation-of mankind from the waste land of the corrupted European civilization with a conviction that "If Christianity goes, the whole of our culture goes". The fruition of his deep meditation between the two World Wars brought forth Four Quarts (1943) -"Burnt Norton"(1936), "East Coker"(1940),"The Dry Salvages"(1941), and "Little Gidding"(1942). The two epigraphs in Greek Eliot quoted in "Burnt Norton" suggest unambiguously the theme of Four Quartets within the category of Word(Logos). Not human time (chronos) but Divine time (kairos), Eden Garden as the rose garden, the Cross as an axle-tree, unmoved Mover (God the Father) as the still point are mentioned in detail in "Burnt Norton". In "East Coker" Jesus Christ as a wounded surgeon, the Church as a dying nurse, Adam as a ruined millionaire are symbolically depicted and the world is compared to an enormous hospital. Christ`s flesh and blood are described as the only means of human redemption. Annunciation, intercession to the Virgin Mary for those who were in ships, and Incarnation half guessed by men even through the revelatory grace are delineated in "The Dry Salvages". In "Little Gidding", the Holy Spirit`s pentecostal fire, not purgatorial fire, in the form of a dove is dominant as the love of God. Sudden glimpse of the Trinity, man's inevitable sin and probable Atonement are also included. Harmonious reconciliation of the fire and the rose will bring the hopeful salvation of human beings from this Satanic world. In conclusion, Eliot's Four Quartets comprises all the Christian doctrines, and; therefore it may be called a magnificent Christian thought poem.

T. S. 엘리엇과 하버드 대학교

안중은 한국T.S.엘리엇학회 2011 T.S. 엘리엇 연구 Vol.21 No.1

This paper aims to investigate T. S. Eliot at his alma mater, Harvard University, which he attended for seven years from 1906 to 1910 and from 1911 to 1914. Despite Eliot’s academic records displaying a range of subpar grades during his first and second years at Harvard, he succeeded in obtaining his BA and MA in four years. Simultaneously, Eliot contributed his early 10 Harvard poems including “Song: When we came home across the hill,” “Song: If space and time, as sages say,” “Before Morning,” “Circe’s Palace,” “On a Portrait,” “Nocturne,” “Humouresque,” “Spleen,” and “Ode” to The Harvard Advacate. Along with the French Symbolist poet Jules Laforgue, Irving Babbitt, professor and critic of New Humanism during his master’s course, Josiah Royce, pioneer philosopher at Harvard Department of Philosophy and Psychology, George Santayana, philosopher of pragmatism, Bertrand Russell, visiting professor to Harvard from Cambridge University during his doctoral course, deeply influenced the formation of Eliot’s poetic style and visions of Nobel laureate. A number of Eliot’s invaluable materials including his doctoral dissertation, Experience and the Objects of Knowledge in the Philosophy of F. H. Bradley, are now preserved at Harvard Houghton Library, which may be accessible only with a permission letter from Valerie Eliot.

T.S. Eliot의 객관적상관물 이론

안중은 안동대학교 어학연구소 1989 솔뫼어문논총 = Solmoe review on language and literature Vol.1 No.1

T. S. Eliot's "objective correlative" in "Hamlet"(1919) is expressed in other terms such as "objective equivalents" in "Cyril Tourneur" and "concrete poetic equivalent", and "complete equivalent" in "Dante". The concept of Eliot's "objective correlative" is considered as (1) the "image correlative" by Ants Oras, R.W. Stallman, Grover Smith, Gertrude Patterson (2) the "situation correlative" by F. O. Matthiessen, Eliseo Vivas, Allen Austin, and (3) the "myth correlative" by Charles Moorman and A. G. George. 1 think it is best to regard Eliot's "objective correlative" as these three correlatives. The sources of Eliot's affirmed coinage, "objective correlative" can be variously traced to Ezra Pound, George Santayana, Washington Allston, Edmund Husserl, F. H. Bradley, Friedrich Nietzsche, Walter Pater, Sanskrit Aesthetics ; Rasa, S. T. Coleridge, R. W. Emerson, James Marsh, and to F. Viele-Griffin. But none of these suggestions is positively accepted as the only final source. The practical application of Eliot's "objective correlative" to his own poetry can be seen in the "image correlative" like "coffee spoons" meaning life, and "a pair of ragged claws" signifying Prufrock's wish to escape from reality in "The Love Song of J. Alfred Prufrock". A good example of the "situation correlative", i. e. a set of situations of Mr. Silvero, Ha-kagawa, Madame de Tornquist, Fraulein von Kulp concretely reveals the vacant world of Gerontion. and the whole six parts of "Ash-Wednesday" are the parallel correlations of the Catholic Mass. The Waste Land delineates concretely Eliot's personal agony by means of the "myth correlative", and "the still point" in Four Quartets is an excellent objective correlative of the Absolute. In conclusion, in so far as The Elder Statesman can be viewed as a sort of objective correlative of the European mind, the concept of the "objective correlative" implies a whole art work as well as image, situation and myth correlatives.

T. S. Eliot’s Modernist Techniques in "The Love Song of J. Alfred Prufrock"

안중은 한국T.S.엘리엇학회 2017 T.S. 엘리엇 연구 Vol.27 No.3

This paper explores T. S. Eliot’s modernist techniques in “The Love Song of J. Alfred Prufrock” (1915) acclaimed as the first poem in Modernism constructed upon Baudelaire’s concept of modernity. The representative modernist poet Eliot is incomparably different from the Romantic or Victorian poets, influenced by Freudian psychoanalysis which classifies the human self into the Id, the Ego and the Super-ego, and by Jamesian “stream of consciousness.” Through the “interior monologue” or daydream of the prudent and indecisive Prufrock, Eliot remarkably presents “alienation” in urban life, a theme of Modernism by describing the incommunicative speaker who is unable to have a rendezvous with the sensual women in his unconsciousness. Furthermore, the poet superbly depicts psychological time in Prufrock’s consciousness rather than mechanical or chronological time under the influence of the Bergsonian concept of time. Eliot’s modernist technique also is obviously displayed through the peculiar metaphor, simile, metonymy, symbol, and the more complex conceit than the conceit of the metaphysical poets. In conclusion, Eliot’s “The Love Song of J. Alfred Prufrock” projecting the speaker’s vacillating (un)consciousness or subconsciousness is indeed the first innovative modernist poem bridging the chasm between his conventional Harvard juvenilia and the modernist masterpiece The Waste Land.

『황무』 가르치기: 교육학적 접근

안중은 한국T.S.엘리엇학회 2010 T.S. 엘리엇 연구 Vol.20 No.2

This paper investigates teaching The Waste Land to both undergraduate and graduate students at Andong National University in Korea from personal and pedagogical perspectives. First of all, the correct translation of the original text into Korean Language is very crucial in the appreciation of T. S. Eliot’s modernist masterpiece. Incorrectly translated words or phrases by several prominent translators are noted and the correct or more appropriate translations are thoroughly indicated. The poem’s theme that immoral sexuality is death is explored mainly by biographical and mythological-archetypal criticism. In addition to the Tarot cards, quite a lot of pictures I took in such places as London, Kew, Starnbergersee, Hofgarten, Lac Léman, Vienna, etc mentioned in The Waste Land are used to enhance the pedagogical effect. Furthermore, my blog entitled “Flowers, Nature, Travel, and Poetry” (http://blog.paran.com/blueskyflowers) in Korean and the cassette tape, video and DVD containing T. S. Eliot’s voice and vision are also strongly recommended for this purpose.

Familial Relationships in Cathy Song`s Picture Bride

안중은 안동대학교 어학연구소 1994 솔뫼어문논총 = Solmoe review on language and literature Vol.6 No.1

이 논문의 목적은 1994년 8월 29일 대구미문화원에서 자신의 대표 시들을 낭송하고 간략히 해설한 뒤 필자와 환담한 바가 있으며, 현재 미국의 비평계에서 신인작가로 주목받고 있는 한국계 및 중국계 미국 여류시인인 케시 송(Cathy Song, 195s~ )의 처녀작인 『사진신부』(Picture Bride)에 반영되어 있는 가족 관계의 양상을 고찰하는 것이다. 송의 조모가 부산 출신의 한국인으로서 하와이의 오하우섬 와히아와에 이민온 대구 출신의 노총각인 조부와 사진 결혼을 한뒤, 이 부부는 사탕수수 농장 노동자로서 그곳에 정착을 했다는 자서전적인 시 "사진 신부"를 비롯한 그녀의 다수의 시에서 끈끈하고 훈훈한 사랑이 넘치는 가족 관계를 발견할 수 있다. 송은 이 가족 관계를 딸이나 손녀의 1인칭 해설자의 입장에서, 조부모와 손자 손녀 또는 한울타리에서 동거하는 3세대와, 부모와 자녀의 가족 관계 등의 두 가지 유형을 제시하고 있다. 이러한 가족 관계는 사진 신부-조모의 모습과 노동자-조부와의 부부애, 고생한 조부의 손자 손녀에 대한 사랑, 사별한 조모에 대한 조부의 사랑, 악조건하에서의 늦은 부모와 딸들의 평화롭게 노동하는 모습, 막내딸의 노모에 대한 효성, 장마기간 동안 허름한 집안에서의 자녀에 대한 모성애, 함께 설거지하면서 얘기하는 모녀의 사랑, 딸아기를 안고 있는 아버지의 모습, 아주 가난한 노파와 아들의 비참한 모습, 딸의 어머니에 대한 애증 등에서 뚜렷이 투영되어 있다. 이러한 가족 관계의 모습은 흔히 동양의 대가족 제도하에서 찾아볼 수 있고, 때때로 미국내에서 소수집단인 아시아계 이민자들의 고통스런 생활상을 상기시켜주는 것으로서, 시인 송은 그녀 특유의 시각적 상상력으로부터 창조된 여러 폭의 동양화를 산문적 문체로 담담하게 표출하고 있는 듯하다.