『T. S. 엘리엇 연구』의 현황과 전망

최희섭 한국T.S.엘리엇학회 2006 T.S. 엘리엇 연구 Vol.16 No.1

Hie-Sup ChoiThe first issue of The Journal of the T. S. Eliot Society of Korea was published in 1993, two years after the establishment of The T. S. Eliot Society of Korea in 1991. The society published the eighteenth volume of the journal on December 31, 2005. At first the journal was issued annually but since the year 2000, it has been published biannually. It can be said that the journal has been being developed both in quantity and in quality.The aim of this paper is to check the present of the journal and to prospect the future. As there is no precedent, the method I take is to examine how many scholars cite the journal in their papers. Amazingly enough, it turns out that very few scholars seem to read the papers published by other Korean scholars. Only 30 papers out of 132 papers published in this journal acknowledge that they cite papers issued in Korea. Among 30 papers, only 14 papers cite other scholars' papers published in this journal. One scholar cites his/her papers published in this journal and two scholars cite other scholars' papers presented in the society's conference. Only 22 authors show the evidence that they read other scholars' papers at all. Only 11 scholars from 63 authors cite other scholars' papers published in this journal. All these numbers make us wonder whether we should continue to maintain this society and to publish this journal. That's why I check the present of the society. There seems to be lots of problems in the running of the society. But they can be corrected sooner or later. We can hope for the future of the society and the journal, when the executive officers, such as president, vice presidents, secretary general, and treasurer, try to make the society and the journal better.

T. S. Eliot and Paul Valéry: 1926-1929

안중은 한국T.S.엘리엇학회 2019 T.S. 엘리엇 연구 Vol.29 No.3

The purpose of this paper is to explore, from the perspective of biographical criticism, the relationship between T. S. Eliot, the greatest English modernist poet, and Paul Valéry, the greatest French Symbolist poet during the years 1926-1929. This paper is to thoroughly trace the mutual relationship and the influential interaction between Eliot and Valéry mainly through the nexus of The Letters of T. S. Eliot 3: 1926-1927 (2012) and The Letters of T. S. Eliot 4: 1928-1929 (2013). Although Eliot’s brief encounter with the French poet and critic at a London reception in 1927 inevitably and repeatedly triggered unpleasant feelings, the editor of The Criterion and a board member of Faber & Gwyer positively and supportively mediated in trying to have Valéry’s friend and adjutant William McCausland Stewart’s and the latter’s friend Thomas McGreevy’s English translations of Valéry’s French prose and verse published by Faber & Gwyer or the Hogarth Press or Jonathan Cape in place of the Criterion Press. Thanks to Eliot’s insistent endeavors through his correspondence, however, McGreevy’s translation Introduction to the Method of Leonardo da Vinci was published by John Rodker in 1929 and Stewart’s translation Eupalinos or The Architect finally not by the Hogarth Press but by the Oxford University Press in 1932. In short, numerous English and/or French letters of Eliot, Valéry’s translators, Leonard Woolf the publisher of the Hogarth Press, a mutual friend of W. B. Yeats and Eliot Thomas Sturge Moore the poet-critic, and other men of letters over a period of four years intensively reveal the two masters’ trustworthy and respectful friendship especially with regards to publication of English translations for the worldwide spread of the French poet-critic’s work.

T. S. 엘리엇의 「작은 영혼」과 T. E. 흄의인간 본성에 대한 “종교적 태도”

허정자 한국T.S.엘리엇학회 2016 T.S. 엘리엇 연구 Vol.26 No.2

T. E. 흄은 인간은 본질적으로 선하다는 인간에 대한 “인본주의적 태도”와 인간은 원죄를 갖고 태어난 본성이 악한, 고정된 그리고 한정된 존재라는 인간 본성에 대한 “종교적 태도”를 대비시킨다. 흄은 인간 본성에 대한 “종교적 태도”를 가진다. 따라서 흄은 인간을 다스릴 훈련, 질서 그리고 조직이 필요하다고 말한다. 또한 흄은 인간은 불완전하기에 필연적으로 완전한 존재인 하나님을 믿게 된다고 언급한다. 흄의 영향으로 흄과 유사한 인간관과 도덕관 그리고 종교관을 갖게 된 T. S. 엘리엇은 「작은 영혼」에서 인간의 한계성을 인정하며 인간이 올바르게 성장하기 위해서는 훈련이나 억제 그리고 기도 같은 초월적 힘이 필요하다는 도덕적 안내자의 모습을 보여준다. 본고에서는 이런 점에서 결국은 죽음으로 끝나버리는 허망한 인간의 성장을 흄의 인간에 대한 “종교적 태도”를 통해 살펴보면서 엘리엇의 「작은 영혼」에 그려진 삶에 도덕적이고 종교적인 의미를 부여해보았다.

T.S.엘리엇의 기독교 신앙

양재용 한국T.S.엘리엇학회 2012 T.S. 엘리엇 연구 Vol.22 No.1

T. S. Eliot was raised and educated under the influence of his Unitarian parents and family. Thanks to William Greenleaf Eliot, the founder who is Washington University in St. Louis and the Church of the Messiah, which is the first Unitarian church, Eliot’s father and mother practised and inculcated the family religion to T. S. Eliot. His mother, Charlotte Champe Eliot, was a writer and a reformer and committed to father-in-law’s decrees. But Eliot criticized radicalism of Christianity―it made it too tepid, too liberal, too much like the enlightened Unitarianism of his family. Eliot also worried about the Church as an institution. Eliot’s denounced empty idolatry of forms with the reforming zeal that his forebears had. Eliot took up a position opposite to the humanitarian attitude of his mother and grandfather, the faith that one tries to approach God through human effort. Everytime he went back during these undergraduate years to join in his family’s Sunday’s worship, he found it an increasingly stifling ritual. Eliot suffered religious experiences “as though traversing the Boston street were like wading through time” in undergraduate years at Harvard which are described in his Four Quartets. Eliot divorced his wife through his attorney in spite of her refusal to recognize a divorce. Eliot repented his wrongdoing due to the consciousness of guilty to her and marriage life since his former wife died lonely in mental hospital. During the rest of his life he suffered from his deeds, for which he was possessed of the consciousness of guilty and sin to his dead wife. The sense of damnation, the remorse and guilt that Vivienne evoked were essential to Eliot’s long purgatorial journey that continued long after his formal conversion and their separation six years later. He could escape from her, morally, only by embracing the ascetic Way of the Catholic mystics. In “Little Gidding” of Four Quartets written during in remorse and the sense of guilt due to the debt to Vivienne, we can find the opposite meanings that are both the fire of bomb implying the death of desire and the fire of Christ implying the love of Spirit. Eliot showed a sense of sin through the protagonists of his later poetic plays. In his poetic plays, Eliot sought human love, which was the fruit of blessings of his second marriage free from guilty consciousness after revealing his sin to his family.

T. S. 엘리엇 작품과 여인들 ―에밀리 해일을 중심으로

양재용 한국T.S.엘리엇학회 2013 T.S. 엘리엇 연구 Vol.23 No.1

This paper intends to reveal Emily Hale’s positive influences to Eliot’s poems and plays. Emily Hale who was 40-year-old lover and friend with T. S. Eliot contributes and influences so much the life and the works of T. S. Eliot as the muse. T. S. Eliot didn’t want to disclose his personal evidences such as letters and recordings, because of the fact that he loved Emil Hale for 40 years as well as his guilty consciousness toward his first wife. T. S. Eliot had a deep religious feeying, so he felt a contrition that is much shameful to the death of his former wife, Vivien Haigh-Wood, because he met Emily Hale while his wife died in mental hospital. That’s why he tried to hide all his personal evidences. Critics who studied Eliot’s biographical influences on his works evinced Hale’s contributions to Eliot’s works. Eliot eventually destroyed her letters sent to him, but Hale bequeathed her collection of over a thousand of his letters to her to Princeton, under the restriction that they will not be opened to the public until January 1, 2020. No one but Hale, and maybe the processing archivist, has ever read them. If the day comes to open the letters, the relations and clues between Eliot’s mysterious works and his life will be clearly revealed. The facts and truths of hidden Eliot’s life in letters and recordings will be the evidences of a new horizon to interpret Eliot’s poetry and poetic drama as symbols and allegory.

T. S. 엘리엇의 「황무지」와 김기림의 「기상도」

이은실 한국T.S.엘리엇학회 2011 T.S. 엘리엇 연구 Vol.21 No.1

This essay surveys some literary, cultural criticism of T. S. Eliot and Kim Ki-Rim, focusing on each writer’s works, The Waste Land and Ki-Sang-Do. In Eliot’s creative and critical practice, his primary concern is to depict his own literature and culture. In other words, he seems to concentrate only on the fate of European literature, art, and cultural heritage, including the political balance of European countries. Therefore, the important issue for Eliot is how they can preserve and develop the tradition of Europe, both to make political peace among the European countries and to achieve “maturity” of their own culture. But Kim Ki-Rim, whose colonial circumstances are quite different from Eliot’s, is affected by double obstacles, the chaos of the pre-modern, underdeveloped Cho-sun and the period of colonial-imperialism from Japan (and the western countries), the prevalent international order then, with cultural ideology of modernity or modernism. In such a situation, Kim Ki-Rim does not concern himself with the idea of preserving the tradition of Europe-originated modernity. Rather, he suggests a possibility of breaking through the very western modernity and modernism, ultimately to build a whole new world, in which post-modern Cho-sun can hold a secure, culturally leading position.

T. S. 엘리엇 시에 나타난 헨리 제임스의 영향:여인의 초상을 중심으로

한현숙 한국T.S.엘리엇학회 2005 T.S. 엘리엇 연구 Vol.15 No.2

This paper purports to read “Portrait of a Lady” in terms of Henry James’ influence. Unlike the influence of French Symbolist poets, H. James’s influence has not drawn many critical attentions. Eliot is greatly indebted to H. James in many ways. First of all, it is James from whom Eliot had learned that poetry ought to be as well written as prose. Also, as Eliot himself said, he was stimulated by the method to make a place real not descriptively but by something happening there and to let a situation, a relation, and an atmosphere give only what the writer wants in James’s stories. Under the inspiration of James, Eliot can cultivate his gift for dramatic verse. So, we can say the dramatic quality of Eliot’s poetry which is no less than in James’s stories, is not irrelevant to the Jamesian method. Considering such influence of James, this paper aims at comparing Eliot’s “Portrait of a Lady” and James’s The Portrait of a Lady and “The Beast in the Jungle”, in the light of the character’s failure and frustration. Especially, Eliot’s “Portrait of a Lady” and James’s “The Beast in the Jungle” portray a man who fails in having relations with a woman in common. In both of works, each man is distinctively selfish. We can investigate more concretely in what ways “the egotism of a man” is expressed and presented as a hindrance in human relations in both works.

T. S. 엘리엇의 신학사상

이홍섭 한국T.S.엘리엇학회 2020 T.S. 엘리엇 연구 Vol.30 No.1

The main purpose of this article is to draw a map for the accurate understanding of T. S. Eliot’s theological thought by closely examining recent studies on this agenda, which include Spur’s “Anglo-Catholic in Religion”: T. S. Eliot and Christianity (2010), T. S. Eliot and Christian Tradition (2014), Domestico’s Divine Cartographies (2016), and Soud’s Poetry and Theology in the Modernist Period (2017). Instead of merely summarizing the content of these critical works, the article seeks to objectively revaluate them and, thereby, serve as a stepping stone for more advanced study on Eliot as a theological thinker. Spur’s monograph, which provides the first detailed analysis of Anglo-Catholicism’s lasting impact on Eliot’s Christian thought, tends to look into Eliot’s works too narrowly with the ‘fixed eyes’ of its doctrinal principles, especially Incarnation. T. S. Eliot and Christian Tradition, though illuminating the influence of French Catholic writers and the Neo-Thomism, which has been heretofore ignored, in general overlooks the importance of Karl Barth and other Protestant theologians in shaping Eliot’s theological thought. Despite an insightful account of Eliot’s growing interest in Barth’s Neo-Orthodoxy, Domestico fails to locate it accurately on the map of Eliot’s Christian thought. Unlike Domenisco, Soud delves into the traces of Barth’s theology in Eliot’s Four Quartets, yet this painstaking excavation, without persuasive analysis, falls into the mechanical juxtaposition of two thinkers.

유기론적 전통과 엘리엇의 비평: 객관적 상관물을 중심으로

이윤섭 한국T.S.엘리엇학회 2009 T.S. 엘리엇 연구 Vol.19 No.2

This article aims to interpret T. S. Eliot’s doctrine of the objective correlative in terms of the European tradition of organicism. A consideration of the organic implications in Eliot’s major critical concepts, such as “a whole of feeling,” “unified sensibility,” and “depersonalization,” reminds us that Aristotle, Longinus, and Horace also highly valued the organic relation between the part and the whole and the organic unity of thought and feeling in great classical poetry. S. T. Coleridge had imported organic ideas from German thinkers and applied them to his Shakespearean criticism. Refuting the neo-classical view that Shakespeare failed to give an adequate verbal form and organized structure to his talent, Coleridge insisted that “no work of genius dares want its appropriate form,” and eulogized Shakespeare’s organic verbal structure equal to his genius. But, contrary to Coleridge, Eliot underestimated Hamlet as an artistic failure on the ground that Shakespeare could not find the objective correlative equivalent to Hamlet’s bafflement. However, it is worth noting that in the course of denouncing Hamlet, Eliot invented his doctrine of the objective correlative, which is an adoption of the organic principle inherited from S. T. Coleridge and Gottfried Leibniz. In his Knowledge and Experience, Eliot noticed that, having essential organic features, Leibniz’s windowless monad was very similar to F. H. Bradley’s concepts of the finite centre and immediate experience. In these concepts of holistic and empirical idealism, the distinctions between the subjective and the objective, spirit and matter, self and the world, feeling and image, and form and content cannot be maintained for their mutual interdependence. So, it should be said that the concept of the objective correlative was a special application of Eliot’s general principle of “the unity of feeling and objectivity,” for feeling and objectivity are only discriminated aspects of the whole experience. He remarked that there was the mutual inclination of mental feeling and verbal image to react upon one another so inexplicably that the relation should be said to be organic. Therefore, the organic features implied in his critical concepts and, in particular, the doctrine of the objective correlative confirms that he achieved a rapprochement between modern poetics and traditional authority.

전통과 감수성: T. S. 엘리엇과 F. R. 리비스

이홍섭 한국T.S.엘리엇학회 2012 T.S. 엘리엇 연구 Vol.22 No.1

The main aim of this article is to uncover how F. R. Leavis carves out his own theoretical space and re/draws the map of English poetry by re-reading T. S. Eliot’s theory of tradition and the dissociated sensibility. In his well-known essay, “Tradition and the Individual Talents,” Eliot underlines the significance of literary tradition in the development of culture and literature, and valorizes it as an “ideal order” that endlessly re/adjusts and re/organizes itself by merging the new with the existing. Profoundly influenced by Eliot’s criticism and poetry, Leavis published two seminal books, New Bearings in English Poetry and Revalution, in the 1930s, where he thoroughly examines the real value of his contemporary poets as well as the past ones and, thereby, re/constructs the great tradition of English poetry. In the books, Leavis redresses Eliot’s notion of tradition, which allows for the dominating power of the past tradition over the present and individuals, by highlighting that it is a small number of talented individuals that challenge the existing order and establish a new tradition. In doing so, Leavis registers the significance of the active and creative role of the subject in the establishment and revaluation of tradition. Unlike Eliot’s notion of tradition, his theory of the dissociation of sensibility is constantly championed by Leavis, who utilizes it as a significant theoretic tool by which to map out the stream of English poetry. However, this does not mean that Leavis unconditionally embraces Eliot’s theory. Rather, Leavis re-enacts the theory by filling up the theoretic ‘empty gaps’ overlooked by Eliot. One of them is the social background that underlies the dissociation of sensibility. For Leavis, it is not just the socio-political changes around the English Civil War but cultural and intellectual factors, including the decay of the court culture and the development of modern science and modern prose, that lead to the dissociation. Another problem of Eliot’s theory is that it forestalls the possibility of the restoration of the unified sensibility in modern poetry by assuming that it has never recovered itself from the damaging effects of the dissociation. However, for Leavis, it is possibile for great individuals to restore the unified sensibility in the age of the dissociation of sensibility, The poet that fully realizes this, Leavis claims, is no other than Eliot himself, who never takes into serious consideration this possibility.