『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. 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. Eliot and James Joyce: 1915-1922

Joong-Eun Ahn(안중은) 한국비평이론학회 2019 비평과이론 Vol.24 No.1

본 논문의 목적은「타임」지가 1998년 6월 8일 선정한 20세기 모더니즘 최고 시인 엘리엇과 모더니즘 최고 소설가 조이스의 1915-1922년 사이의 관계를 전기 비평 관점에서 조명하는 것이다. 이 논문은 「T. S. 엘리엇의 서한집」1권 (2009), 「제임스 조이스의 서한집」 1권 (1957)과 3권 (1966), 파운드/조이스: 제임스 조이스에게 보낸 에즈라 파운드의 서한집 (1967)에 수록된 서신들 및 윈덤 루이스의 자서전 「작렬과 포격」(1937) 등에 나타난 1920년 엘리엇과 조이스의 프랑스 파리 조우 전후 8년 간 파운드의 중재, 엘리엇의 조이스 견해, 조이스의 엘리엇 언급 등을 집중적으로 탐색하고 있다. 아울러 조이스의 율리시즈 시리즈에 대한 리처드 알딩턴의 혹평, 엄격한 미국의 검열과 엘리엇의 옹호, 파리 소재 실비아 비치 소유인 셰익스피어 앤 컴퍼니에서 1922년 「율리시즈」 단행본의 힘든 출판 과정, 영국 서평들의 지연, 동년 「크라이티어리언」 창간호에 게재된 발레리 라르보의 서평 「율리시즈」및 엘리엇의 영역(英譯) 등을 심도 있게 천착하고 있다. 요컨대, 8년 기간에 걸쳐 엘리엇과 조이스와 파운드 등이 쓴 서한과 루이스의 엘리엇과 조이스의 관계 묘사는 그들의 친밀한 관계로부터 양면적인 관계를 거쳐서 협조적인 우정까지 강력한 영향력의 상호 작용을 집중적으로 시사하고 있다. The purpose of this paper is to explore, from the perspective of biographical criticism, the relationship between T. S. Eliot, the greatest modernist poet, and James Joyce, the greatest modernist novelist in the 20th century during the years 1915-1922. This paper is to thoroughly trace the mutual relationship or the influential interaction between Eliot and Joyce mainly through correspondence in The Letters of T. S. Eliot 1: 1898-1922 (2009), in Letters of James Joyce 1 & 3 (1957, 1966), in Pound/Joyce: The Letters of Ezra Pound to James Joyce with Pound’s Essays on Joyce (1967), and in Wyndham Lewis’s autobiography Blasting and Bombardiering (1937). Eliot’s views on Joyce and Joyce’s comments on Eliot before and after their first encounter through Pound’s mediation in Paris in 1920 are elaborated on. Richard Aldington’s severe critique on the series of Joyce’s Ulysses, strict American censorship and Eliot’s defence, difficult publication processes of Ulysses (1922) by Sylvia Beach’s Shakespeare and Company in Paris, the delayed British reviews, Valery Larbaud’s review “The ‘Ulysses’ of James Joyce,” and Eliot’s translation published in the first issue of The Criterion (1922) are also deeply investigated. In short, numerous letters of Eliot, Joyce, Pound, and Lewis’s description on the relationship between Eliot and Joyce over a period of eight years intensively reveal their influential interplay ranging from intimate relationship through ambivalent relationship to cooperative friendship.

T. S. 엘리엇의 반유태주의 논쟁

이만식 한국현대영미시학회 2009 현대영미시연구 Vol.15 No.2

T. S. Eliot is no longer an idolized literary figure. Instead he is likely to be an easy target of recent critical and political attacks partly due to the demise of modernism and partly due to the denunciation of the anti-Semitism of T. S. Eliot by Anthony Julius’s T. S. Eliot, Anti-Semitism and Literary Form. This paper is to prove that Julius’s criticism of T. S. Eliot is a logical fallacy. The notorious phrase of “any large number of free-thinking Jews undesirable” in After Strange Gods is one of Eliot’s well-known anti-Semitic remarks. However, in his letter to J. V. Healy on May 10, 1940, Eliot clarified that he intended to emphasize its religious aspect because the unity of religious background is very important to the ideal homogeneous culture and that thus “free-thinking Jews are only a special case.” Julius’s criticism is focused on the following five poems; “Gerontion,” “Burbank with a Baedeker: Bleistein with a Cigar,” “Sweeney Among the Nightingales,” “A Cooking Egg” and “Dirge.” In this paper, I tried to prove that Julius’s indictment of Eliot’s anti-Semitism is a hyperbole. Julius acts like a prosecutor bringing the case of Eliot’s anti-Semitism to the legal proceeding of felony. However, the actual case is like a misdemeanor with which a policeman can dismiss Eliot with a caution. T. S. Eliot is no longer an idolized literary figure. Instead he is likely to be an easy target of recent critical and political attacks partly due to the demise of modernism and partly due to the denunciation of the anti-Semitism of T. S. Eliot by Anthony Julius’s T. S. Eliot, Anti-Semitism and Literary Form. This paper is to prove that Julius’s criticism of T. S. Eliot is a logical fallacy. The notorious phrase of “any large number of free-thinking Jews undesirable” in After Strange Gods is one of Eliot’s well-known anti-Semitic remarks. However, in his letter to J. V. Healy on May 10, 1940, Eliot clarified that he intended to emphasize its religious aspect because the unity of religious background is very important to the ideal homogeneous culture and that thus “free-thinking Jews are only a special case.” Julius’s criticism is focused on the following five poems; “Gerontion,” “Burbank with a Baedeker: Bleistein with a Cigar,” “Sweeney Among the Nightingales,” “A Cooking Egg” and “Dirge.” In this paper, I tried to prove that Julius’s indictment of Eliot’s anti-Semitism is a hyperbole. Julius acts like a prosecutor bringing the case of Eliot’s anti-Semitism to the legal proceeding of felony. However, the actual case is like a misdemeanor with which a policeman can dismiss Eliot with a caution.

윤동주와 T. S. 엘리엇의 작품에서의 영국 성공회 가톨릭의 죄

양재용 한국T.S.엘리엇학회 2024 T.S. 엘리엇 연구 Vol.33 No.2

모더니즘 시대의 엘리엇과 윤동주는 기독교 집안의 독실한 신앙으로 자라고 성장했다. 윤동주는 미션스쿨인 릿쿄대학과 교토의 도시사대학 그리고 연희전문의 영문과에서 교수로 있던 이양하의 엘리엇 강의를 들었으며 엘리엇의 시와 시극 그리고 비평론에 상당한 영향을 받았을 것을 추정하면, 그 영향은 로마 가톨릭과 유사한 영국성공회 가톨릭으로 개종한 엘리엇의 시에서 찾을 수 있다. 두 시인은 시에서 원죄의 문제를 직접적으로 드러냈고, 죄의 문제를 해결하는 노력에서 엘리엇은 시와 시극에서 자신이 느꼈던 전 아내와 애인 그리고 어머니에게 순수 기억으로 과거의 죄를 속죄한다. 엘리엇의 첫 아내 비비언과 애인 에밀리 그리고 모친 샬럿을 향한 씻지 못한 배신의 죄의식과 자신의 죄도 아닌 원죄를 통감하며 평생을 영국의 성당을 돌며 고해성사를 했는데 이런 속죄의 길은 개신교에는 없는 영국성공회 가톨릭의 특징이다. 윤동주와 엘리엇은 자신의 죄도 아닌 죄를 자신의 죄로 인식하고 죄를 정화하는 고행의 길을 가는 길을 보여준다. 윤동주는 부끄러운 자신의 죄를 나타내는 참회, 부끄럼, 이브의 수고, 원죄, 십자가, 죽음, 자기 길, 종시의 표현처럼 죄의식에서 괴로워하면서 속죄의 길을 가려는 노력이 나타난다. 윤동주의 시에 나타난 이런 종교적인 단어들은 윤동주가 엘리엇의 영국성공회 가톨릭 문학에 천착했다는 증거이며 엘리엇의 영향으로 볼 수 있다.

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. 엘리엇의 「J. 알프레드 프루프록의 연가」와 상징적 풍경

김홍기 한국T.S.엘리엇학회 2015 T.S. 엘리엇 연구 Vol.25 No.2

엘리엇은 보들레르가 현대사회가 현대인이 갖는 의식과 감정에 부정적으로 끼치는 문제점들을 찾아 이를 상징적인 이미지를 활용하여 시를 쓰는 것을 발견하고 깊은 영감을 얻었다. 엘리엇은 프랑스의 상징주의 시인들 가운데, 특히 보들레르가 구현하는 시적 주제와 표현기법에 많은 관심을 가졌으며 엘리엇의 초기 시들은 프랑스 상징주의의 시학전통으로부터 지대한 영향을 받았다고 할 것이다. 보들레르가 퇴폐적인 대도시의 삶을 새로운 시의 소재로 전면에 내세우고 대도시의 환경에서 시적 영감을 찾았던 것처럼, 엘리엇 역시 「J. 알프레드 프루프록의 연가」와 같은 그의 초기 시작품에서 대도시가 새로운 현대시의 환경이 되고 시적 소재의 근원이 됨을 이 논문은 주목한다. 이 논문은 엘리엇이 단지 현대 대도시 삶의 퇴폐적인 풍광들을 시의 소재로 삼을 뿐만 아니라, 더욱 중요한 것은 엘리엇이 이런 실제의 도시적 풍광을 활용하여 프푸프록으로 대변되는 현대 지식인의 번민과 내면의 의식을 상징적으로 구현하고 있음을 주장한다. 이 논문은 엘리엇이 자신의 과거의 경험과 관찰을 통하여 제시한 시적 소재들을 객관적 상관물로 활용하여, 현대 도시민의 복잡한 의식의 속성과 그 문제점들을 들추어냄을 밝힌다. 아울러, 이 논문은 엘리엇이 객관적 상관물이라는 상징주의적 표현기제를 사용하여, 공통의 가치와 신념을 나누지 못하고 경험과 의식의 분절화를 반복적으로 겪으며 살아야하는 대도시 생활의 병폐적 속성을 표출하려했음을 밝힌다.

“T. S. 엘리엇은…제국주의자였다”—엘리엇의 키플링과 콘래드 읽기

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

본 연구는 엘리엇의 제국이 언제나 “이상”이었다는 커모드나 마샬의 주장과는 달리, 엘리엇의 제국은 “현실”이었음을 증명하기 위해, 엘리엇이 중요하게 여긴 두 명의 작가, 러디어드 키플링과 조셉 콘래드에 대한 그의 평가를 살펴보고자 한다. 키플링은 엘리엇이 평생 좋아했던 작가였으며, 콘래드는 『황무지』와 「텅 빈 사람들」의 제사를 제공했던 작가였다. 엘리엇은 이 두 작가가 제국주의에 대해 다른 입장을 갖고 있었다는 것을 잘 알고 있었다. 젊은 시절의 엘리엇은, 제국주의와는 전혀 관계없이, 두 작가를 문학의 잣대로만 평가를 했다. 그는 키플링을 가까스로 위대한 작가로, 콘래드를 위대한 소설가라고 평가했다. 그러나 노년의 엘리엇은 반제국주의자였던 콘래드에 대해서 거의 언급하지 않았으나, 제국주의자였던 키플링의 시 선집을 출판하고, 그를 옹호하는 글을 썼다. 그리고 이 글에서 엘리엇은 키플링이 대영제국에 대해 취한 입장의 의미와 의의를 자세히 설명하고 있다. 위 사실에 근거하여, 본 연구는 엘리엇이 제국주의에 대해 상반된 입장을 취한 키플링과 콘래드를 어떻게 이해했는지, 그가 두 작가와 제국주의에 대한 평가가 어떻게 변했는지 살펴보고, 그 의미와 의의를 살펴보고자 한다.

근대성과 기억: 발터 벤야민과 T. S. 엘리엇

이홍섭 한국T.S.엘리엇학회 2010 T.S. 엘리엇 연구 Vol.20 No.2

The main aim of this article is twofold: first, to uncover the theoretical significance of Walter Benjamin’s critical revaluation of Bergson, Proust, and Freud, who shed new light on the understanding of memory, and secondly, to re-read Eliot’s poetry in the context of Benjamin’s ideas of modernity and memory. In “On Some Motifs of Baudelaire,” Benjamin highly values Bergson’s Matière et mémoire as a ground-breaking work in understanding how perception and memory co-operate. In À la recherche du temps perdu, Proust reworks Bergson’s pure memory by illuminating that memory is in essence involuntary. However, both of them, Benjamin argues, fail to address the historical and social characters of memory. By channelling Bergson’s pure memory and Proust’s involuntary memory into Freud’s insightful idea that consciousness and memory are mutually exclusive, Benjamin finally locates a historical/social schema of memory. Conscious remembering or the voluntary memory is devoid of the creative and redemptive force of the involuntary memory, and becomes the main form of memory in the age of high capitalism when Erlebnis (everyday lived experience), not Erfahrung (genuine experience), is overwhelmingly dominant. What Benjamin calls Erlebnis and its memory are problematized in Eliot’s early works, including some of his unpublished poems as well as “Boston Evening Transcript,” “Rhapsody on a Windy Night,” and other published ones. In “Goldfish,” the traces of a young man’s past experiences are deployed as allegorical signs that visualize the meaningless daily routine and its “dead” memory. For Eliot, as for Benjamin, a symptom of modernity is that people increasingly tend to experience the world indirectly through newspapers and other news sources. Distancing themselves from their communities, urban people are, as presented in “Boston Evening Transcript,” controlled and, even, enslaved by newspapers, and real, felt, embodied experiences sharply decline in modern cities full of sensational and shocking news. “Rhapsody on a Windy Night,” on the other hand, presents a young man’s longing for genuine experiences that may transgress the logic of rationality, calculation, and discipline. However, imprisoned in the modern world, where his memory as well as his body functions as an automatic machine and even the moon is transfigured into a prostitute whose re/usable body, like a factory worker’s, is sold in the market, he fails to carve out a space/time of difference or redemption.

T. S. 엘리엇 시의 노인과 죽음

윤석임 국제언어문학회 2018 國際言語文學 Vol.- No.41

The world-famous musical Cats, based on Old Possum’s Book of Practical Cats by T. S. Eliot, tells the story of “Jellicle Cats” and a “Jellicle Ball” to choose which cat will be reborn and get another chance of life. It is mainly the story of a miserable, decrepit, old character’s death-in-life and rebirth. Its theme is consistent with that of Eliot’s poetry. From the early poems through The Waste Land to Four Quartets, Eliot’s poetry is haunted with death. The purpose of this study is to examine death and rebirth, and to identify Eliot’s positive attitude towards death and old age. Influenced by Hinduism, Buddhism, mysticism, and other Asian philosophies, Eliot reveals his belief in circular fluidity of life and death. The acceptance of death and the sublimation of death represent Eliot’s views of death. Old men should not be afraid of death and try to get over the empty desolation of their existence. They ought to be explorers seeking for their real destination and their own rose garden. Old men conquer death and time through death itself, leading to perpetual seasonal cycle of death and rebirth. 본 연구의 목적은 대표적 뮤지컬인 『캣츠(Cats)』의 원작자이며 20세기 대표적인 모더니즘 시인인 T. S. 엘리엇의 시에 나타난 죽음의 편재와 그 양상을 살펴보고 죽음에 이르는 노년기에 대한 긍정적 사유와 그러한 사유를 도출하게 된 철학적 바탕을 엘리엇의 초기시에서 후기시에 이르기까지 집중적이고 구체적으로 검토하고 분석한다. 엘리엇이 초기 시에서부터 다루었던 시간의 문제는 『네 개의 사중주』에서 더욱 심화 되어 인간의 삶과 죽음의 문제에 대한 심도 있는 사유과정으로 이어진다. 엘리엇은 초기시에서부터 다양한 죽음의 양상을 제시하고 있으나 죽음을 단순한 육체의 소멸로 보지 않음으로써 종말인 죽음을 공포, 두려움이나 환멸의 대상으로 다루지 않는다. 오히려 엘리엇은 노인을 육체적인 감각은 상실했으나 재생과 부활의 희망을 품고 있는 새로운 세계로의 탐험가로 상정하면서 초월적이고 순환적인 삶에 대해 적극적인 태도로 나아갈 것을 요구한다. 특히 1930-50년대에 걸쳐 쓴 후기 시들에서는 현대인의 공허한 삶과 죽음과 같은 상황에 초점을 맞춘 엘리엇의 대표작 『황무지』(1922) 와는 달리 인생의 노년기를 바라보는 그의 시각에 새로운 변화양상을 보이며 초월적이며 순환적인 부활과 재생의 희구를 담고 있다.