번역시의 읽힘새를 위하여 ―김상무 역주, 『예이츠 서정시 전집―제1권 아일랜드』,『예이츠 서정시 전집―제2권 사랑』,『예이츠 서정시 전집―제3권 상상력』

홍은택 한국현대영미시학회 2014 현대영미시연구 Vol.20 No.1

에즈라 파운드 초기시의 현대성― 언어의 궁핍

권승혁 한국현대영미시학회 2010 현대영미시연구 Vol.16 No.2

This paper aims to illuminate the ways in which Ezra Pound revitalized English poetry with the various poetic experiments that he learned from the Provençal masters in the Middle Ages as well as his contemporary writers, such as F. T. Marinetti, T. E. Hulme, F. M. Ford and formulated the disruptive, elliptical and antithetical modernist poetics in his early poems. Excluding figurative language or fancy rhetoric of Classical poetry, he came to believe in the sanctity of the plain word. He strove to project every word as an isolated object and used it as the modernists’ only poetic medium, which rises straight, concrete, and dense like a monolithic. Rejecting any attempt to coordinate words, phrases, clauses, and sentences found in Classical poetry, he employed the discrete and disparate word that breaks down the syntactic relations between words and phrases, and crumbles the structure of meaning accordingly. With respect to the ways in which he employed the disparate and separate words, his early poems realize the most distinctive feature of modern poetry: “Hunger of the Word.”

현대 영미시 번역에 대하여

김상무 한국현대영미시학회 2009 현대영미시연구 Vol.15 No.1

The purpose of this paper is to assess the current state of modern British and American poems in Korean translation. Academic research on the modern British and American poets by Korean scholars began in 1945, and so far three generations of scholars have actively engaged in the studies of them and translation of their works. However, based on my examination of nearly all of the Korean translation of the quoted verse lines appearing mainly in the Studies in Modern British and American Poetry published by the Modern British and American Poetry Society of Korea between 2006 and 2008, I argue that translation endeavors by the second and third generation scholars have not yielded satisfactory results and that the senior group of scholars cannot shirk its responsibility. The problem areas in the translation include choice of words and phrases, tense adjustment, versification and punctuation as well as scene description and poetic imagining. Following a detailed discussion of inappropriate and awkward translations, I offer my own translation for comparison if need be. The purpose of this paper is to assess the current state of modern British and American poems in Korean translation. Academic research on the modern British and American poets by Korean scholars began in 1945, and so far three generations of scholars have actively engaged in the studies of them and translation of their works. However, based on my examination of nearly all of the Korean translation of the quoted verse lines appearing mainly in the Studies in Modern British and American Poetry published by the Modern British and American Poetry Society of Korea between 2006 and 2008, I argue that translation endeavors by the second and third generation scholars have not yielded satisfactory results and that the senior group of scholars cannot shirk its responsibility. The problem areas in the translation include choice of words and phrases, tense adjustment, versification and punctuation as well as scene description and poetic imagining. Following a detailed discussion of inappropriate and awkward translations, I offer my own translation for comparison if need be.

현대 영미시의 물질성: 현대 시어의 공간성과 시간성 문제를 중심으로

권승혁 한국현대영미시학회 2003 현대영미시연구 Vol.9 No.2

Seunghyeok KweonIn this paper I will examine the materiality of language in the twentieth-century poetry. Modernist poets imagine language and writing as matter to be shaped and formed for the senses as well as the intellect. With the aid of a typewriter, they are more acutely aware of the materiality of words, and incorporate the materiality of modern language into their poems, visually as well as acoustically. On the one hand, they reflect on the visual materiality of language and create a new visual aesthetic--the word as image or object on the page. On the other hand, they investigate the rhythmic or sound pattern, which is expressed in the visually arranged words, lines and stanzas. The material page of the visually arranged texts suggests that “the sight of [stanzas to see] inflects the speaking voice, the listening ear” (Kenner, A Homemade World 58). On the basis of the typographcial disposition on the white page, which are intended to deliver its visual and acoustic meaning, I will attempt to give a new reading of Ezra Pound's idiosyncratic presentation. As the spatialized musical score directs all aspects of vocal or instrumental sound, the spatial configuration of the typewritten texts indicates also the temporality of language. In other words, he attempted to harmonize his idiosyncratic lineation and line breaks and his vocal effects, especially duration of sound and silence. In this context, I am going to argue that Pound's typographical dispositions are his arduous effort to reconnect the written words spatially locked on the page and the dynamic, multi-sensory, and multidimensional experience of oral performance.

Circular Infinity in James Dicky's Poetry

윤석임 한국현대영미시학회 2002 현대영미시연구 Vol.8 No.1

윤 석 임제임스 딕키는 인간 생사의 순환고리뿐 아니라 죽음과 재생의 끝없는 순환성에 이끌렸다. "영속적 순환"(circular infinity)이 일어나는 그의 시 세계에는 영원한 삶이나 영원한 죽음은 존재하지 않는다. 딕키에게 있어 삶은 결코 한 점에 붙들어 매어놓을 수 없는 역동적인 재형성과정이다. 또한, 그에게 있어 죽음이란 생명의 소멸을 의미하는 것이 아니라, 단지 하나의 전이단계이며 존재양식의 변화과정일 뿐이다. 생명력의 영속성에 대한 믿음은 딕키로 하여금 시작과 끝이 있는 일직선상의 움직임보다 뫼비우스의 띠와 같은 영속적 순환성을 그의 작품에 표현하도록 유도한다. 영속적 순환을 믿고 그것을 작품 속에서 표현하고자 하는 딕키의 바램은 시의 무대, 시간, 자아를 다루는 데 있어 순환성을 그 특징으로 부여하기에 이른다. 나아가서 서정시와 설화시 같은 형식과 문체의 사용에 있어서도 순환성을 찾아볼 수 있다. 딕키의 시 구조 역시 다음과 같은 원형적(圓形的) 흐름을 보여준다. 도입부에서 독자는 자연 혹은 물질 세계에서 화자를 대면하다. 그러나, 곧 화자는 그 자연적인 세계에 동화되고 상상적으로 반응하여 타자(the Other)와 초월적 혹은 변형적 과정을 통해 정체교환을 이룬다. 지하로의 오르페우스의 여정처럼 하강과 상승, 낙하와 비상의 순환이라는 모티프를 사용하여 정체교환이나 환생(還生)과 같은 과정을 포착하여 표현한다. 시의 종결부에서 독자는 가시적인 세계에 대해 좀 더 강화되고 폭 넓은 이해력을 획득하고 자연 세계로 되돌아온 화자와 재회하게 된다. 딕키는 그런 과정의 재현 가능성을 시의 결말부분에서 암시함으로써 생명의 고리와 같은 끝없는 순환적 구조를 독자에게 제시하고 있다.

한국계 미국 시인 김명미의 시에 나타난 국가, 젠더 및 언어

장근영 한국현대영미시학회 2004 현대영미시연구 Vol.10 No.2

Geun-Young Jang

현대영미시연구 수록 논문의 현황과 국내문헌 인용 고찰

최희섭 한국현대영미시학회 2007 현대영미시연구 Vol.13 No.1

The first issue of The Studies in Modern British and American Poetry was published in 1996, eight years after the establishment of The Modern British and American Poetry Society of Korea in 1988. The aim of this paper is to analyse the theses in the journal from the first volume to the seventeenth volume published on December 30, 2006. The first thing checked is the number of theses in a volume and who the authors are. The second thing checked is the poets who are the object of the study. The third thing is the citation of theses published before. Amazingly enough, it turns out that very few scholars cite the theses written by other Korean scholars. And very few scholars acknowledge the citation of the scholar’s own theses published in this journalThe scholars are thought to be hesitating to acknowledge the citation of documents published in Korea. This surmise seems to be proved by the fact that they do not cite the books published in Korea, even though the citation rate is somewhat higher than the citation of the theses published in Korea.

드니스 레버토프의 베트남 전쟁시

허현숙 한국현대영미시학회 2010 현대영미시연구 Vol.16 No.1

Denise Levertov took up the task to hold the poetic stance to oppose to the Vietnam War from the middle of the 1960s through the end of the War. Even with the harsh criticism and assessment that her Vietnam war poetry declined to the level of propaganda, she did keep her poetics that a poet should concentrate on the poetic subject and his/her inner response or meditative process toward it, which would be her experience in the world as a poet. It is her judgment and her attitude on Vietnam war revealed in her poems with which this essay concerned. Denise Levertov’s Vietnam war poetry transcends the traditional assumption that art and politics cannot be compatible. She actively involves readers in the poetic process by stimulating their imagination with striking descriptions of the war field with reality and by raising their consciousness to her arguments that 1)the war itself would be the trigger of meditation on human beings, 2)the war is the incarnation of human evil, 3)the defeated people seems to be destroyed, but the will to live among them is enlivened stronger than among the victorious one, whom death prevails on. With these Denise Levertov shows her profound emotions and convictions armed with substance, content, and intellectual richness in her Vietnam war poems.

실비아 플라스 시에 나타난 메데이아 신화 전복 연구

강문애 한국현대영미시학회 2017 현대영미시연구 Vol.23 No.1

This paper argues that Plath takes mythology as her topos and confronts stereotypical characters and notions in this mythology. Plath focuses on the marginalized female characters, especially for Medea and tries to subvert the stereotypes from the perspective of a modern female poet. In the so-called “Ariel Poems”, her later ones, Plath focuses on her female self who is confined in the traditional feminine sphere of submission to men like Ariel trapped in the tree. This conflict derives from the patriarchal society in which Plath feels the strain of a double bind, as a woman and poet. Plath attempts to emancipate her confined female self by taking on her strong, and furious, female mythic persona, Medea. Plath’s Medea, however, is not the traditional evil one, but the subverted modern one: the emancipated female self who redeemed the lost female voice and the violent power. Taking Medea Myth as a poetic solution, and revising it with her strong and unique vision, Plath eventually constructs her own Modern Medea Myth through a subtle and creative mytho-poesia in her own “Plath Myth”.

앨리스 풀턴의 실험 시학 ―배치와 다수성

윤일환 한국현대영미시학회 2014 현대영미시연구 Vol.20 No.2

Alice Fulton rejects the assumptions of the two most widely recognized poetic camps in recent decades that poetry should follow either mainstream conventions of expressive personal lyric or the radically disjunctive forms of Language Poetry. Her experimental poetics embodies the unconventional or innovative dimensions by drawing on scientific metaphors from modern science. Her poetry is immediately recognizable for its elaborated conceptualization of assemblage and multitude that connects and traverses heterogeneous elements laced with modern scientific terms. Her poetry, however, does not explore its images in the abstract object or independent area; rather it extends its boundary to the social and political culture constituted by performative practice. Fulton redefines and recreates poetry according to the multiforms of experience and intellect, branching out in numerous directions and intersecting on their separate paths to infinity.