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허윤덕(Hur, Yoon Deok) 미래영어영문학회 2016 영어영문학 Vol.21 No.1
This article attempts to consider Blake's Songs of Innocence through Lacan's perspective. In Lacan's view, desire expresses itself in a particularly masculine way as well by identifying and subordinating the other as the object that is necessary to complete the male subject. Desire becomes structured into language as a masculine discourse the moment the individual engages in the Symbolic Order. That is, once the individual begins to recognize himself as a distinct entity, he no longer experience himself as concomitant with external reality, but as a subject. The subject's immediate response is to attempt to undo the split that has created his awareness of himself by seeking in the world outside of him what had been lost because of it. What he hopes to regain is what he regards as an original state of unity with the world od objects. But the displacement toward unity brings with it an unavoidable and painful awareness of the limits of subjectivity.
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파이퍼와 바드 : 『순수의 노래』와 『경험의 노래』에 나타난 예언의 소리
허윤덕(Hur Yoon-Deok) 새한영어영문학회 2006 새한영어영문학 Vol.48 No.3
Song of Innocence and Song of Experience criticize the established way of seeing and thinking, and proclaim the regeneration of Earth through the prophetic speakers, Piper and Bard. The Piper perceives the world by way of transcending the barriers of time and space and of the divine, the human, and the natural. Innocence, despite its limitations, is seen as the essence of humanity which Blake prophesy will realize in the future, and has something inseparable to do with imaginative perception. But, unlike the Piper, the Bard is conscious of his ability to penetrate these barriers, and he uses this ability, as well as his power of insight, in order to reform the condition of society and mankind. Through the Bard, Blake reveals that the ultimate cause of social evils consists not in the established systems but in the "mind-forged manacles," the passive psychology that accepts them and looks upon them as the inevitable things. Blake renders his prophetic perception of the world through his own rhetorical and experimental poetic devices such as syntactical and semantic ambiguities, and organic and transfiguring uses of religious, political, and literary traditions. And he also delivers the reader's mentality from the confines of established conception and conventional modes of thinking and awakens man's dormant capacity for perception of the infinite in the world.
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허윤덕 제주대학교 사범대학 2002 백록논총 Vol.4 No.2
Ths thesis aims to illuminate William Blake's poetry in terms of the prophetic tradition and its transfiguring use. From the earliest period of his poetic career, Blake displays many characteristics in connection with the prophetic tradition. Blake belongs to this tradition not so much because of his use of the structures and devices of the Bible as because of his stance, his purpose of delivering humankind, and his transfiguring perception that simultaneously sees the past, present, and future, the divine, the human, and the natural, the subject and the object, the cause and the effect. These characteristics are embodied more clearly in his voice, his distinct metaphoric and grammatically ambiguous style, and his simultaneously critical and affirming use of allusions to the Bible and Milton. Conclusively speaking, Blake renders his prophetic perception of the world through his own rhetorical and experimental poetic devices such as syntactical and semantic ambiguities, and organic and transfiguring uses of religious, political, and literary traditions. And he also revisions the visions and rhetoric of his predecessors and delivers the reader's mentality from the confines of established conception and conventional modes of thinking and awakens man's dormant capacity for perception of the infinite in the world. Finally, Blake intends to build 'New Jerusalem' or Eternity, a democratic world, in which the variety and individuality of all individuals coexist in harmony and all of beings have a organic and active relationship to each other.
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역사 다시 읽기 : The [First] Book of Urizen The Book of Urizen
허윤덕 제주대학교 사범대학 2001 백록논총 Vol.3 No.1
Critics generally agree that William Blake belongs to a tradition of prophetic poets in English literature who conceive of themselves as heirs to the biblical prophets both politically and aesthetically. Recent criticism that examines him as prophet focuses on his use of the larger structures and devices of the Bible, especially those identified in biblical exegeses from the sixteenth through the eighteenth centuries. In The Book of Urizen Blake attempts to debunk the established view of the Creation and man's place in the cosmos and subvert the Lockean epistemology: Blake tries to achieve his goal not by means of what he sees as the biblical and Miltonic mode of prophecy through monological messages, but by means of the heuristic mode of prophecy with the same motive as that behind the Hebrew prophets' symbolic acts as Blake conceives it. Through the errors and anguish of Urizen, Los, and the Eternals, Blake presents one area of the prophetic career he has not yet explored - the burden of the prophet's task, his alienation from both the power that appoints him and the world he strives to reform, and his anguish in falling to achieve his goal - the facet of the prophet's life best exemplified in the bible in Lamentations, traditionally attributed to the prophet Jeremiah. Although the Divine Vision, or the living human form, is not fully developed in The Book of Urizen, it is implicit in Blake's "Visionary forms dramatic," by means of which Blake will deliver the predecessors' visions and the reader's mind from the confines of established conceptions and conventional modes of thinking and will awaken our dormant capacity for perception of the infinite in the world.
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