셸리의 프로메테우스적 언어

장성현(Sunghyun Jang) 19세기영어권문학회 2017 19세기 영어권 문학 Vol.21 No.2

This essay examines Shelley’s Prometheus Unbound with close attention to his view of language as presented in the drama. Here Shelley emphasizes the constitutive role of language in the formation of thought—an idea of language that has been termed “Promethean” in Shelley criticism. Promethean speech has the performative capacity for love, which is the core of Shelleyan morality and whose embodiment in the drama is Asia, Prometheus’s lover. Shelley believes that only the power of love, rather than of hatred, brings about a true revolution and ends all tyranny for good. According to Shelley, feelings of love are powerfully aroused by reading poetry, since this increases our capability for sympathetic imagination. Promethean language consists of poetic metaphors, which are arbitrarily produced by the imagination. By appropriating imaginatively the arbitrariness of language, the central tenet of Locke’s linguistic philosophy, the poet can bring metaphorical vitality to a dying language. This revitalized or Promethean language serves to reshape our understanding of the world, promotes our moral improvement, and launches a universal revolution in political and social systems—which ultimately results in the establishment of “our great Republic.”

키츠의 하이페리온 시편 연구: 고통과 파편

장성현(Sunghyun Jang) 한국외국어대학교 영미연구소 2021 영미연구 Vol.51 No.-

키츠의 『하이페리온』과 『하이페리온의 추락』은 새턴을 중심으로 한 타이탄 신족이 올림푸스 신들에게 패하고 세계의 지배권을 넘겨준 그리스신화에 바탕을 두고 있다. 키츠는 두 편 모두 완성을 하지 못하고 파편으로 남겼다. 본 논문은 두 하이페리온 시편의 파편성을 탐색한다. 시 자체에 내재한 파편성 때문에 키츠가 집필을 중단할 수밖에 없었다는 것이 본고의 전제이다. 1819년 4월 동생 부부에게 보낸 편지에서 드러난 삶의 고통에 대한 그의 인식이 하이페리온 시편을 파편화한 핵심 요소이다. 키츠는 고통을 원죄의 결과, 신의 자의적 간섭에 의해 벗어나야 할 상태로 보는 기독교적 입장에 반발해 기독교가 들어오기 이전의 서구의 인식체계를 담고 있는 그리스신화를 이용해 고통의 유익함에 대한 나름의 체계적 설명을 구축하려 한다. 키츠는 세상을 “영혼을 만드는 골짜기”라고 부르면서 각자가 현실의 역경과 고난을 통해 영혼(즉 개성)을 창조해가는 것이고, 인류 문명의 진보 역시 고통의 경험을 통해 가능하다고 생각한다. 키츠는 이러한 생각을 그리스신화의 내러티브를 통해 극화하고자 하지만, 이러한 시도는 처음부터 파편화될 수밖에 없는 성격을 지녔다는 것이 본고의 주장이다. Keats’s fragment poems Hyperion and The Fall of Hyperion are based on a Greek mythic story in which the Titans are forcibly expelled from heaven by their children the Olympian gods. The purpose of this paper is to explore the fragmentariness of the two poems, whose inherent fragmentary nature forced Keats to stop writing. The paper argues that Keats’s understanding of human suffering, as it was shown in his letter of April 1819, constitutes the essential elements of the Hyperion poems’ fragmentariness. He fiercely attacks the Christian notion of human misery, which is believed to be the inevitable result of Original Sin in Christian thinking. The Hyperion poems are Keats’s attempts to offer a comprehensive account of the benefits of pain using Greek mythology which, he believes, reflects Western perceptions of human existence before the rise of Christianity. He calls the world “the vale of Soul-making”—a vale in which each individual must create his or her own soul by means of the experience of pain and suffering. Keats’s dramatization of these ideas within the narrative framework of the Titanomachia myth results in fragmentation, which appears inevitable.

키츠의 『챕먼의 호머』 읽기: 발터 벤야민의 번역이론을 통해

장성현 ( Sunghyun Jang ) 영미문학연구 2016 영미문학연구 Vol.31 No.-

This essay reads Keats`s 1816 sonnet “On First Looking into Chapman`s Homer” as a text that articulates the poet`s view of translation-a view that, the essay argues, coincides closely with that of Walter Benjamin as expounded in his 1921 essay “The Task of the Translator.” The “mistiness” of Chapman`s English translation, as Keats puts it, forcefully engages Keats`s imagination, inspiring him to boldly proclaim that he has grasped the very essence of Homeric epics in Chapman`s work. Benjamin`s ideas about the relation between the original text and the translator`s own language, his conception of “pure language” in particular, lend revealing insights into the way that Keats creatively incorporates Homer into his poetic experiences through Chapman`s mediation as his invention of the two remarkable similes in the sonnet`s sestet illustrates. In other words, Benjamin`s account of the performance of translation helps us better understand how Keats grows to poetic maturity by accessing the Greek canon in the mistiness of translation.

셸리의 메타포 이론

장성현(Sunghyun Jang) 19세기영어권문학회 2014 19세기 영어권 문학 Vol.18 No.2

This essay makes the argument that Rousseau played a crucial role in shaping Shelley`s view of language as outlined in The Defense of Poetry. It explores how Rousseau`s theory of metaphor, as formulated in the third chapter of his Essay on the Origin of Languages, influenced Shelley`s ideas about metaphor, which he saw as a vital element of poetic language. The reading of Rousseau provided in this piece draws on the essays that Paul de Man wrote on the Origin of Languages. De Man`s analysis of the “giant” metaphor supports the conclusion that Rousseau`s thoughts regarding the invention and deterioration of language were intertwined with his radical political thought. In the case of Shelley, too, his reflection on the function of language closely relates to his political radicalism. Again, de Man`s account of the nature of metaphor provides the basis for an analysis of Shelley`s writings in this essay. For Shelley, the poet takes the leading role in reforming the social political system and changing our perception of the world, but he does so only by creating metaphors which “freeze” (de Man`s word) into literal facts his revolutionary imaginings.

존 클레어의 ‘푸른 언어’와 그 한계

장성현(Jang, Sunghyun) 문학과환경학회 2013 문학과 환경 Vol.12 No.2

Enclosure poems by John Clare have been highly acclaimed as a model for ecological writing in ecocriticism. What critics find particularly intriguing in these poems is Clare’s effort to develop “a language that is ever green.” Distinctive features of this poetic language include resistance to standardized English and the frequent use of the rhetorical device of prosopopoeia (or personification)--features which ecocritics regard as expressions of a deep ecological consciousness. I argue, however, that Clare’s departure from standards of grammar and punctuation does not parallel his opposition to the tyranny of enclosure. In the cultural context of 1820’s, his nonstandard language cannot be seen as the struggle against linguistic tyranny. Moreover, the ways that Clare employs prosopopoeia are sometimes shown to be the appropriation of the land for releasing his own emotions. While personifying natural objects, in other words, he shows himself to be a ventriloquist. We need to be careful that an ecological reading of Clare’s poetry do not blind us to the limits of his “green language.”

머신러닝 활용 하이브리드 자동차 최적 제어를 위한 피처 선정

장성현(Sunghyun Jang),강창범(Changbeom Kang),차석원(Suk Won Cha),임원식(Wonsik Lim) 한국자동차공학회 2019 한국자동차공학회 학술대회 및 전시회 Vol.2019 No.11

인위성의 비판: 모리스의 『노웨어에서 온 소식』과 라파엘전파, 낭만주의

장성현 ( Sunghyun Jang ) 영미문학연구회 2018 영미문학연구 Vol.34 No.-

This study of William Morris’s News from Nowhere perceives artificiality as the main target of his social criticism in the novel. Artificiality, according to him, permeates every area of Victorian society: gender relations, education system, motherhood, commerce, manufacture, and most significantly, artistic practices. Morris believes that the artificial nature of capitalist society (its drive for mass production, increasing mechanization, the alienation of labor) inhibits artistic creativity and freedom, making it impossible to produce truly beautiful things. This study traces Morris’s conception of Victorian artificiality back to the Pre-Raphaelites, who attacked artificial modes of painting and aspired to truthfully copy nature in their works on the advice of Ruskin, whom Morris deeply admired; and further back to the Romantic poets, who pursued the sincerity of literature in reaction to artificial (or unnatural) practices of language in their day. What can be called the Romantic spirit, this article observes, runs through the different phases of Pre-Raphaelite movement, and also through Morris’s remarkable achievements in decorative art and his News from Nowhere. Nowhere, twenty-first-century Britain, is a utopia where all traits associated with modern artificiality have been completely removed, an ideal community in which art/work brings genuine aesthetic pleasure. In this utopian vision, Morris successfully integrates the Romantic tradition and Pre-Raphaelitism into his own socialism.

주행데이터 기계학습 활용을 위한 데이터 분석 및 분류 방법론

장성현(Sunghyun Jang),송창희(Changhee Song),양현준(Hyunjun Yang),차석원(Sukwon Cha) 한국자동차공학회 2020 한국자동차공학회 학술대회 및 전시회 Vol.2020 No.11

바볼드, 코울리지, 그리고 『1811』

장성현(Sunghyun Jang) 19세기영어권문학회 2015 19세기 영어권 문학 Vol.19 No.2

Anna Barbauld`s Eighteen Hundred and Eleven, in which she prophesizes the collapse of the British civilization, sparked fury among reviewers when it first appeared in 1812. They especially condemned Barbauld`s coldness towards her home country, which was faced with grave threats from Napoleon`s France. Their representation of Barbauld as a cold woman coincides with Coleridge`s snide remark about her iciness. His antipathy to Barbauld has roots, it seems, in her 1798 poem “To Mr. Coleridge.” The great stress that Barbauld lays on the poet`s public duty in this poem anticipates her casting herself as a prophetess in Eighteen Hundred and Eleven. Her public role as a prophetess is to warn the British people about individual freedom being violated under the pretext of protecting the nation at war-violations that, in her prophetic vision, will lead inevitably to the decline of Britain. Barbauld has to be a cold woman in order to serve as a prophetess in her society. In the Poem, her ability to envision the future is personified as Fancy, which invites an interesting comparison with Coleridge`s conception of fancy. Barbauld bases the faculty of fancy on her firm belief in human liberty, and also incorporates in this faculty her liberal views on art and history.

예이츠와 김소월의 비교연구: 영문학자의 입장에서

장성현(Sunghyun Jang) 19세기영어권문학회 2020 19세기 영어권 문학 Vol.24 No.1

This essay examines Yeats’s influence on the poetry of Sowol Kim from a perspective of an English literature scholar. The Korean literati of the 1920s and 1930s enormously admired Yeats, a poet of Ireland, the then British colony. Indeed, Yeats was the most widely translated Western poet in Korea at that time. It is observed that many of the comparative studies of Yeats and Sowol conducted by Korean literature scholars lack a close analysis of the English texts of Yeats’s poetry as well as a knowledge of critical studies on it in English-speaking countries. This study reveals that most of Yeats’s works enjoying popularity among Koreans are deeply indebted to British Romanticism, which actually marked an early phase of Yeats’s poetic career. The main focus of this essay is on comparing Yeats’s two poems “He Wishes for the Cloths of Heaven” and “The Lake Isle of Innisfree,” which drummed up most lively interest among the Korean literati, to some of Sowol’s poems including “Azaleas,” Sowol’s best-known poem. The present study incorporates into its comparative analysis of Yeats and Sowol not only a careful consideration of the historical and cultural backgrounds against which Yeats wrote his poems but also an overview of Western critical approaches to Yeats.