영화 속의 영시: 멀티미디어를 활용한 영시

양승갑(Sung Kap Yang) 한국영미문학교육학회 2005 영미문학교육 Vol.9 No.1

The aim of this study is to exemplify the education of English poetry by means of the cinema. Nowadays thousands of movies are released every year, which means that the available sources for this teaching method are abundant. The biggest advantage of the education of English poetry via the cinema is that it can reinforce drastically the accessibility of students to poetry, helping them dismiss the conventional wisdom that English poetry is difficult to understand and study. The accessibility leads to the easiness and efficiency of grasping the meaning of poetry. Every good movie using poems has invariably the same or similar theme with the poems used in it, which means that the condensed and compacted themes of the poems can be paraphrased by the long and detailed scenes of the cinema. The mutual complement implants the theme and meaning of the poems in the student's mind both impressively and effectively as can be seen from the case study of Dead Poets Society. The exquisite harmony between the poetry and the cinema can establish the education of English poetry via the cinema as a powerful and effective pedagogy.

셸리의 여행 삼부작 『얼래스터』, 『몽블랑』, 그리고 『마렝기』 ―자연으로의 복귀

양승갑 ( Sungkap Yang ) 21세기영어영문학회 2021 영어영문학21 Vol.34 No.3

This research combines Shelly’s three poems Alastor, Mont Blanc and Marenghi into a so called Travel Trilogy. The unprecedented combination allow us to see Shelley’s eco-consciousness in a different light. Usually he has been considered as a radical revolutionist, as indicated by one of his representative nickname “meliorist.” Inevitably, the myth around him attributes his eco-consciousness to “Social Ecology,” which finds all reasons for the ecological crises in the human society and seeks the management of them in the system of society. Conventionally, most quest myths have as their frame the deep-rooted stereotype of “separation-initiation-return.” In combining three poems, this frame provides a meaningful coherence for the combination. The first work, Alastor, which deals with the separation from the anthropocentrism through the travel of a young poet, can be considered to be the first stage of the quest, “separation.” In Mont Blanc, Shelley expresses ecocentrism, provoked by the overwhelming sublimity of the mountain. In many ways, the travel to the mountain is the quest for the inversion of human’s superiority over nature. The last travel in Marenghi leads to the complete return to nature and also completes the cycle of the quest myth. Consequently, Shelley’s quest in the travel poems results in man’s symbiosis in nature. In these three poems, the trajectory of the travel shows a gradual shift from anthropocentric to ecocentric consciousness. And the Rousseauian return to nature reveals that Shelley is a Romantic forerunner of “Deep Ecology.”

어슐러 크뢰버 르 귄의 시

양승갑(Yang, Sung-Kap) 문학과환경학회 2016 문학과 환경 Vol.15 No.4

본 연구는 어쉴라 르 귄의 시를 스토리텔링과 스토리리빙의 관점에서 살펴보았다. 그녀는 자신의 이야기가 오늘날의 인간 현실에 대한 의미 있는 변화를 초래할 수 있다고 본다. 즉, 스토리텔링이 지닌 상상력의 힘이 현실 개조라는 스토리리빙으로 이어질 수 있다는 것이다. 이를 위하여 르 귄의 시가 보이는 특징 중의 하나인 허구와 실제가 혼용된 글쓰기를 독자들의 인지 강화라는 측면으로 본다. 허구와 실제의 간극을 극대화하여 스토리텔링과 그 이야기들을 만들어 내는 상상력과 얼마나 멀어져 있는가를 독자들에게 효과적으로 각인시킨다는 것이다. 이러한 각인과 인지는 그녀의 시에서 자연스럽게 상상력의 회복으로 이어진다. 그녀의 시에서 상상력의 회복은 우리 주변의 흔한 일상에서부터 시작한다. 상상력의 일상성은 상상력 회복의 실존적 당위성을 지닐 뿐 아니라 독자들에게 보다 명료한 공명을 제공한다는 점에서 현실개조를 지향하는 르 귄의 시가 지니는 힘의 원천이다. 르 귄의 스토리텔링은 우리 잊거나 놓치고 있는 것이 무엇인가를 상기해 내는 것을 새로운 것을 창안해 내는 것보다 더 중요하게 제시한다. 따라서 그녀의 스토리텔링은 오늘날 인간의 삶을 변화시키는 행위인 스토리리빙으로 보다 직접적이면서도 효과적으로 이어질 수 있다. 이런 점에서 르 귄의 스토리텔링은 상상하면 실현된다는 소셜 픽션의 범례이다. Ursula Kroeber Le Guin is mainly known for her science fiction and fantasy. But she herself has resisted the pigeonholing for most of her career. Considering the fact that applying the label of "science fiction" to Le Guin"s work doesn"t convey the range of her stories or her literary sources, her resistance is reasonable. A more accurate description for Le Guin would be “story-teller.” Le Guin has produced 10 collections of poems starting from Wild Angels in 1974 to Finding My Elegy: New and Selected Poems in 2012. Her poetry shows her style and philosophy with lucidity and succinctness, which serves well as a clue to tell her writing characteristics, philosophy and vocation as a story-teller. As a story teller, the most prominent quality of Le Guin is the merging of ‘fiction(imagination)’ and ‘fact(reality).’ The purpose of this hybridization comes from her deep insight into the reality in the modern society and also from her desire to give the impact of ‘the verisimilitude’ to the modern readers. In her poems Le Guin intentionally omits the process of how human beings have lost the magic power of imagination to show the drastic difference between the harmonious world in the past and the chaotic one in the present. In her poems the past usually falls on the fiction(imagination) and the present on the fact(reality). So Le Guin’s merging can be kind of a device to lure the readers to recognize keenly the gap between the life with imagination and without it. To live truly and really, according to Le Guin, human beings should recover the magic power of imagination which we had once and lost. The suggestions she offers in her poems to recover the magic power seem to be trifling; “may you be in this house”(“For the New House”), “listen a lesser voice”(“Talk Show”), “minds lie still as sunlit meadows lie”(“Futurology”) and “all the living things [. . .] are probably connected.”(“‘The scarcity of rhinos’ on the television”). The trifles make her poems existential and also provides an easy but firm ground upon which her story-telling be changed into a story-living which leads directly to a creative way of living. Nowadays “Social Fiction” says that “We imagine it, and it comes true. Yet we don"t have social fiction, so nothing changes.” Le Guin doesn’t talk about anything beyond human ability. She just talk about something that is and/or was close to us both mentally and physically. That is why just listening carefully to her story telling gives us a clear resonance. And that is why Le Guin’s story telling can be a true “Social Fiction” which tries to change the way of life in modern society.

로렌스의 시 -동물적 삶의 찬가-

양승갑 ( Sung Kap Yang ) 21세기영어영문학회 2010 영어영문학21 Vol.23 No.1

The poetry of Lawrence doesn`t conceal the inferiority of men and culture to nature and the wilderness. Seemingly, this provocative inferiority has made the society and rather many readers uncomfortable and displeased. But readers` disagreement with Lawrence means that deep-rooted anthropocentric consciousness has been prevailing and Lawrence subversive inversion is concreted into `Hymn of an Animal Life` in his poems. Lawrence`s hymn goes beyond `reductionism` or `the recovery of the relationship between man and nature` as it includes `the way of living in nature as a part of it.` Nature in his hymns is `not for man` or `an object to experience` but `a place to live in.` Lawrence believes that the `elan vital` for man is secured only by nature. The major concern of ecological minds is the problem of `practice.` Nowadays virtual reality is ever present, so many human experiences are undergone only by cognition. Therefore, there should be more direct and tangible eco-centrical tactics. In Lawrence`s hymn, man is only an animal which can do nothing without nature. The outspoken frankness of Lawrence`s hymn can be a good eye-opener to the present crisis of nature.

르 귄의 시에서의 정의

양승갑(Yang, Sung-Kap) 문학과환경학회 2017 문학과 환경 Vol.16 No.3

본 연구는 어슐라 크뢰버 르 귄(Ursula Kroeber Le Guin: 1929- )의 시에서 드러나는 ‘정의’의 문제에 초점을 맞추기 위하여 그녀의 시에서의 정의를 “사회 정의,” “환경 정의” 그리고 “생태 정의”로 나누어서 살펴보았다. 르 귄은 오늘날 우리 사회에 만연한 부정의가 기득권층의 정보와 지식의 독점에서 비롯된 사회 구조적인 문제임을 직시한다. 그녀는 이러한 편중이 낳은 사회적 부정의가 빈부 계층의 고착화로 이어지며, 나아가 환경 정의의 문제로까지 확대된다고 본다. 환경적 부정의의 문제에 대한 르 귄의 고찰은 기득권층과 현대인들의 부정의에 대한 ‘무지’와 ‘무감각’을 꼬집는다. 이 무지와 무감각은 그녀의 시에서 ‘다른 곳’과 ‘거리감’으로 가시화된다. 그리하여, 모든 부정의의 해결점이자 결론에 해당하는 생태 정의에서, 르 귄은 자연 속에서의 모든 종(種)들의 평등성에 대한 철저한 수용이 무지와 무감각으로 생긴 모든 거리감을 일소할 수 있음을 주장한다. 이 모든 과정에서 르 귄은 ‘열린 의식’을 강조한다. 그녀가 ‘열린 집’에 거주하는 ‘세상의 주부’임을 자처하는 것은 모든 현대인들이 그 어떤 차별과 구별도 없는 ‘정의로운’ 그 집에 함께 기거하기를 바라기 때문이다. 결과적으로 르 귄의 시에서의 정의는 만물과의 공생을 위한 열린 인식에 다름 아니다. Among the existing man of letters, Ursula Kroeber Le Guin(1929-) is one of the most influential writers. The influence comes from the fact that She has been a practical activist on the various spots of anti-war, anti-nuclear, anti-racism movement and so on. And also in her works especially in her poetry she clarifies that literature and imagination can/must be a powerful weapon for the fights against all the injustices deeply permeated in the modern society. Broadly speaking, all the justices can be concluded into ‘fairness.’ But to focus on the “justice” in the poetry of Le Guin, this paper categorizes justice into three types; “Social Justice,” “Environmental Justice,” and “Ecological Justice.” For the social justice, the first step Le Guin takes is the diagnosis of the injustices widespread in the modern society. She points out “the mis-recognition” of the weak and the low by the established who have monopolized knowledge and information also. The structural injustice in our society is more expanding and deepening in the “environmental justice.” All the environmental injustices, Le Guin believes, come from the environmental inequality and the inequality from the ignorance and insensibility of the established to the weak. In her poems “distance” and “other place or elsewhere” are the metaphor for the ignorance and insensibility. “Ecological justice,” the last and complete justice, is to be ‘oneness’ with everything fulfilled by the removing of the ignorance and insensibility. And in her poetry, all the justices are arranged into the ecological justice. As a poet, Le Guin claims to be “a world’s housekeeper.” And her house which knows no inequality nor injustice at all is wide open to every direction and every one and every thing under the heaven. As a result, in Le Guin’s poetry, justice has the exactly same meaning with the ‘open consciousness’ toward everything in Nature for ‘symbiosis.’

셸리의 시에 나타난 독자와의 교호를 위한 글쓰기

양승갑 ( Yang Sung-kap ) 대한영어영문학회 1999 영어영문학연구 Vol.25 No.1

This study inquires into the relation between the writer and the reader in the poetry of Shelley who, in spite of his endeavor to acquire the public popularity, was criticized and neglected by his contemporary readers as well as critics. Reading Shelley’s poetry, we can recognize without any difficulty that he continuously tries to have more direct and close association with the reader than any other poet in his time. In Shelley’s poetry, this is shown as the responsibility of the writer for the reader. For this responsibility Shelley work out a variety of mechanisms; writing prefaces to every long poems hard for readers to understand; endowing poets including himself with the status of prophet; reversed writing in which physical objects come from the mentality in contrast to the poetry in common. On the part of readers, these mechanisms help them feel that their consciousness is continuously stirred up. And readers are gradually lea into the field where the relationship between them and the writer is built up in sympathy. Seemingly, Shelley just copies the writing of the old, typical writers in which the writers stay predominant over the readers. But in seeing Shelley’s poetry in the reader-oriented view, the most important thing is that all these manipulations by Shelley is to make the reader respond to his poetry more smoothly and closely--a kind of warmup. That is to say, Shelley never says to his readers what they should obtain in his works; but he just want to say how they should read his poetry. All the rest is on each reader. In conclusion, Shelley’s writing, which appreciates the relationship between the reader and the writer, and induce the reader to have his own experience, laid a cornerstone of the reader-responsive approach as early as 200 years ago.

원에 관한 위상 역학

양승갑 ( Seung Kab Yang ) 한국수학교육학회 1989 수학교육 Vol.28 No.1

블레이크의 『경험의 노래』 다시 읽기

양승갑 ( Sungkap Yang ) 21세기영어영문학회 2019 영어영문학21 Vol.32 No.3

William Blake states that the purpose of his work is an endeavour to restore “the Golden Age” of human beings. His vocation for the restoration is revealed explicitly in Songs of Innocence and of Experience, an early production in his writing career. In the epigram, he says that the songs are written for “shewing the two contrary states of the human soul.” From the title itself we can draw easily what the two contrary states of the human soul are. And in Songs of Innocence, it’s easy to tell what ‘innocence’ means. The prevailing motifs and imagery in the poems show that it’s an innocent status of the human mind which can be found in young boys and girls inexperienced in the tough world. But in Songs of Experience, ‘experience’ resists obstinately being translated into ‘corruption’ as opposed to ‘innocence.’ Songs of Experience witnesses many young boys and girls deserted and tormented by grown-ups especially by the established. The fact that the former-dwellers in the world of innocence are harshly abused in the world means that the experience is not the state of the human soul or mind but ‘the conditions in living.’ And also the translation of experience into corruption impairs the coherence of the whole context in Songs of Experience. Experience as the conditions in living invites inevitably the problem of ‘justice.’ In Songs of Experience, Blake criticizes severely the ‘logocentrism’ which has been corrupted into the dominant ideology by the ruling class, especially by the religious. The religious who have monopolized all the information in the name of religious mysticism curb the reasons of people and their bodies as well. Blake believes in the original status of human beings but also believes that the deep-rooted injustice done by the established has been spoiling the prime quality. Only the society of justice in which reciprocal equality is fulfilled can restore “the Golden Age” of human beings. The predicaments of the modern world in which the social polarization between the rich and the poor has been deepened clarify that Songs of Experience can be a prophetic and apocalyptic gospel for us.

생태학적 텍스트로써의 모던 포크송 : 밥 딜런과 조니 미첼의 경우

양승갑(Yang Sungkap) 문학과환경학회 2011 문학과 환경 Vol.10 No.2

The aim of this paper is to suggest modern folk songs as one of the most practical texts for ecological consciousness. To prove this, this paper scrutinizes songs of two of the most prominent folk singer-songwriters existing; Bob Dylan(1941-) and Joni Mitchell(1943 -). Appraised as the first popular singer raising popular songs into the real art, Bob Dylan sings on "consideration" and "association" between friends, lovers, and human beings. All the miseries of mankind including big wars, he thinks, stem from the lack of the delicacy and consideration for others. Like Wordsworth, he also believes that Nature is a guiding principle for the redemption of humanity. As he confesses that his Muse is Nature, his songs introduce hundreds of millions of his audiences with the Nature's economy. While Dylan is concerned about Nature implicitly, Mitchell sings out directly that we have killed Nature and Earth as well. Almost all of her songs are permeated with "Love" which she believes cures and recovers both human beings and Earth endangered also. From the point of eco-consciousness, Bob Dylan and Joni Mitchell stand on a favorable position which is open to the public. And their places render their songs to have direct and extensive influences upon their world-wide audiences. As long as they sing and we hear and remember them, their songs have a long life as an ecological text to effectively helps us enhance ecological consciousness.

블레이크의 『경험의 노래』와 생태 정의

양승갑 ( Yang¸ Sung-kap ) 21세기영어영문학회 2021 영어영문학21 Vol.34 No.1

Blake’s Songs of Experience, the antithetical poem to Songs of Innocence, depicts the apocalyptic realities of human beings in the world of experience. And the calamity of the world, Blake clarifies, has come from deep-rooted social injustice which has been enforced to innocent and vulnerable children and grown-ups by the established in the name of religion and reason. In Blake’s poems, the widespread injustice wields its power especially upon the intrinsic vitality of human beings. And poems make it clear that the oppression has become more wretched in parallel with the distance of human beings away from nature with which they had once dwelled in harmony. Consequently, the accomplishment of eco-justice can restore the dwelling place of human beings in nature and recover their inherent properties of, what Blake calls, ‘innocence and experience’. Additionally, the approach to Songs of Experience with eco-justice can make the meaning of the ‘experience’ more explicit. With the help of eco-justice, any constraints surrounding the experience can be eliminated and reveal its genuine quality to be the ‘energetic’ pair to ‘pure’ innocence in the human mind.