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고통의 유목학-에드윈 알링턴 로빈슨의 “방랑하는 유태인” 읽기
장순열 ( Soon Real Chang ) 21세기영어영문학회 2012 영어영문학21 Vol.25 No.3
This paper tries to point out that cursory readings of E. A. Robinson`s poem “The Wandering Jew” that emphasize its ethical and philosophical meanings fail to acknowledge the narrator`s ever-increasing capacity to be affected by the Wandering Jew`s never-ending suffering, which enables a different reading seen through the perspective of Gilles Deleuze`s idea of nomadology. The basis for this can be associated with the possible similarities between the Wandering Jew`s nomadism and anathema as well as the Deleuzian subtraction (n-1). Even though the Wandering Jew is interpreted as a living corpse, the uncanny, or the marginal man by logocentric structures such as Jesus` dictum of giving him eternal exile, his recurring experiences of suffering and wandering which always lead to differences by which any trial to catch their definitive meaning is deferred. With his detachment from the center by use of the strategy of rhizome, he can achieve an arrogance through the repetition of his suffering because the repetition itself leads to a form of eternal variation or expansion which can eventually result in his obtaining his place next to God. In this sense, his wandering is not so much a curse but a kind of bliss that is allowed to him by following the “lines of flight” through an “a-centered, non- hierarchical, non-signifying system without a General.” This new interpretation helps to break away from the traditional approaches towards the poem which see the Wandering Jew`s pride as purely a lack of repentance, and which becomes the source for his stigmatization. This understanding of the poem leaves both the Jew and the readers to wander on not only in the continuous nomadic life of his real suffering, but also to keep their wanderings in the realm of its interpretations.
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장순열 ( Chang Soon-real ) 대한영어영문학회 2003 영어영문학연구 Vol.29 No.2
Soon-RealSetting up a new concept which can disintegrate what has been occupying the highest order of thoughts using the name of the logos, Gilles Deleuze and Felix Gattari, in their book named A Thousand Plateaus : Capitalism and Schizophrenia, designate it the nomos which is to be placed opposite to that hierarchical stratum. Though their work arrays themselves in the major trends of twentieth century concepts originating from a simple binary system which comprises the interplay of two sets of contrasts, they are useful when we try to capture the subtlety of the fluid nature of the nomos's strategy when to constantly undermine the rigid norms of the State space. The clear distinction of bifurcation--the gridded State space and open-ended space of the nomad--is taken advantage of by the analysis of the three major characters in the poem--the Knight, the Lady, and the narrator. The Knight represents the State space with his efforts to identify her in his conceptual schemes and to define her using the terminology of courtly love, ordering her status in the fixed hierarchical system of the chivalric world. Nevertheless she shakes the foundation of the root-based thought with the idea of rhizome, acting like a “war machine,” using her body as a good weapon to de-territorialize Knight's homogeneous world. His efforts to agglomerate her diverse acts in a semiotic chain of the logos always fail, because he is always “palely loitering” outside the life of immanence--that of the nomad. Keats, however, was wise enough to realize the extremity of confrontation of the two opposites--the cosmos and the chaos--and even much wiser than Deleuze and Gattari in his subtle handling of the narrator who is working as a mediator, integrating them under his world of chaosmos, the final site of enlightenment. < Kwangju University >
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William Wordsworth의 "The Immortality Ode" 小考
장순열 광주대학교 민족문화예술연구소 1993 論文集 Vol.2 No.-
Arnold's “decas mirablis”theory that Wordsworth's poetic power decreased after the flowering decade 1798-1808 ascribes the decay of his power to the composition of the Immotrality Ode. The decline has been explained in various ways; his conversion to orthodox Christianity, his break with Coleridge, his abortive love affair with Annette, his marriage with Mary Hutchinson and the subsequent economic difficulty, all of which were revolving about the years Wordsworth composed the Ode. However, the biographical interpretations which make the Ode a dirge over departing powers are criticzed by Lionel Trilling who, adopting the psychological approach, regards Wordsworth's philosophy of pre-existence as a significant nexus which connects the poet's sense of early fancy and that of full-fledged imagination. Cleanth Brooks who avails himself of New Criticism with the technical devices such as paradox, irony, and ambiguities, also analyzes the structure of the Ode, revealing the nature of the simulacra of the biographical approaches. Both bring it to light that the poet who gained the new power of maturer imagination than before wrote the Ode, which, therefore, was not so much as a farewell to art as actually the very opposite, a welcome of new powers. Though the biographers' assertion that the anti-climax commences in the Ode is subverted by the conclusion Trilling and Brooks come to, that is, the Ode is the poet's resulting assurace of the growth of imagination, and though the possibility of intentional fallacy lurking in the traditional approaches is estimated by both critics, they also cannot avoid the pitfall of subjectivism when, they, with the sole use of the devices of New Criticism and of psychoanalysis, ignore the social, intellectual, and biographical contexts of the poet they deal with. It is certain that the chief fault lies in the critics who are not aware of the fact that the validity of interpretations can be achieved by what Hyman calls the “symposium”of various critical methods, only by which the multi-faced significance of a literary work, the whole gamut of its meaning, can be unveiled.
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The Power in "To a Sky-Lark" and "The Cloud"
Chang, Soon-real 광주대학교 인문과학연구소 1996 인문과학 Vol.2 No.-
본 논문은 쉘리의 이상주의가 그의 시 두 편에 어떻게 표현되어있는가를 고찰한다. 플라톤의 영향을 강하게 받았던 쉘리는 전제와 불법으로 가득한 세계를 이상적 질서로 바꾸기위해서는 인간이 제 일의 원인, 큰 존재, 거대한 하나라 불릴 수 있는 위대한 힘이 세상을 이끌고 있고, 인간 또한 이 큰 힘의 일부라는 것을 깨달을 때라고 생각하였다. 이 각성은 인간은 모두 완성을 향해 진화하는 동등한 존재며 사랑과 조화 안에서 형제임을 인식함에 다름 아니다. 자연은 이 힘의 모습을 보여주어 인간을 이상적 사랑으로 이끄는 역할을 할 수 있다. 그의 시에서 만상은 영적인 세계를 표상 한다. 종달새는 천공 위에서 존재의 기쁨과 사랑을 노래한다. 그는 항상 높이 날고 있어서 불가시의 영역에 위치하지만 그의 존재는 분명히 감지되므로 그는 영적인 실체의 상징이 된다. 평범한 인간은 걱정과 포만 사이에서 눈이 멀어 이를 알 수 없다. 그러나 시인은 상상력을 통해 종달새의 영적 의미를 간취한다. 그는 새시대의 도래를 알리는 예언자의 목소리를 갖게된다. 민감한 상상력을 통해서 느껴지는 이 힘의 존재감은 지극히 순간적이다. 그것은 쉴새없이 모양을 변화시키는 구름과 비슷한 속성을 가졌다. 그것이 계절의 순환에 순응하여 스러지거나 생겨나는 모습은 일견 삶의 속절없음과 비유된다. 그러나 삶과 자연의 순환은 커다란 힘의 반복적인 운동에 지나지 않는다. 만상의 배후에서 사랑의 영속적 흐름을 드러내는 이 힘의 존재를 종달새나 구름과 같은 이미지를 빌어 시간과 공간의 차원에서 감지해 낼 수 있는 능력이 바로 시인의 상상력이다. 쉘리의 시는 코울리지가 설명했던 두 종류의 상상력의 움직임을 잘 드러내고 있다.
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