『사랑하는 여인들』다시 읽기: 생태학적 접근

엄정옥(Ohm Jeong-Ohk) 한국영어어문교육학회 2005 영어어문교육 Vol.11 No.1

This paper attempts to prove the possibility that Women in Love can be approached by ecological thought. It is necessary to research the family of Lawrence's childhood, the environmental surroundings and Lawrence's viewpoint of nature to prove the possibility. The most urgent problem for us in the modern world is the ecological crisis due to the destructive aspect of modern civilization. This Lawrence's attitude toward the modern civilization is clearly reflected in Women in Love. Lawrence diagnoses the destructive aspects of modern civilization and the human relationship through Gerald, Gudrun, Hermione and Loerke who represent the industrial society and suggests the apocalyptic vision to the human being from the nature. Lawrence thinks that we must restore the animated power of life to revive the modern man who lost the vital power of life. Birkin and Ursula represent this thought of Lawrence and they accomplish the idealistic human relationship based upon the true love and the real life. They do not have the posture of the binomial contrast that separates the human being from the nature, This posture of the binominal brings to one of the causes of the present ecological crisis. As a result, we can say that Women in Love is the novel that belongs to the category of literary ecology. And we can regard that Lawrence previously presented the paradigm that ecologist advocates.

삶의 美學

嚴定沃 圓光大學校 1980 論文集 Vol.14 No.1

The self-consciousness of D.H. Lawrence was transparent and the most important problem through his life was the accomplishment of his self. As the always says that his motto is "art for my sake", his art was the one for his sake and he proclaimed that his art would be something to serve for the man. As D.H. Lawrence could transform his inner emotion and emotional experience into the form of literary art, the novel was the highest form of human expression so far attained and the most convenient literary means to express his vital self for Lawrence. The novel of D.H. Lawrence who did not like any rules or form had not any forms in writing novel, but we can find the natural form in his novels. Lawrence has the stern view about the responsibility of artist. Specially he dislikes the artist-idealist. He thinks one has to fuse one's physical and mental self right down to produce good art. As the artist-idealists prefer "brain" to "body", they can't describe the truth in their works. This concept of art and artist is reflected in his major novels, but Sons and Lovers is the best novel to apply it. Sons and Lovers has three formal orders or matrices. The first matrix is autobiographical narrative; the second a scheme taken over from psychoanalytic theory; the third is the matrix of life. Most critics concentrated on the autobiographical, the personal problem, this attitude led them from the novel's value as a work of art towards its interest as a case-history. In spite of such a overwhelming critical approach, Sons and Lovers is the story of the development of art and artist. As Sons and Lovers has so strong element of the autobiographical narrative and the element of Oedipus Complex that we are apt to lose the important aspect of Sons and Lovers-the development of art and artist, so we have to notice the liberating force of artistic creativity. If there is not this unseen theme, we can not solve the contra-diction of Sons and Lovers-the problem of the discrepancy between intension and performance of D.H. Lawrence. So we had better to study the development of Paul as a man or artist.

탐구의 항해 : D.H.Lawrence논

엄정옥 군산대학교 1969 群山水産專門大學 硏究報告 Vol.3 No.1

Lawrence wanted to know how he would be able to find the true units between man and man. He himself did not fit in society and he was lonesome. He was dependent on himself through his whole life. For him there was no real ho me without his self. His solitude forced him to pursue a certain relationship with others. Lawrence saw a contradiction in modern mechanism. the development of which brought sorrow in a civilizd society. The machine estranged our humanity from its human source in nature. The failure of a portion of mechanism destroyed, at the same time, a portion of the human instinct. The best way to restore man's source is to emancipate him from the mechanical world and promote his recovery to sound flesh and blood. Lawrence, too, wanted to find the many contradictions of mechanism in his private religion - The religion of flesh and blood - as a relief for modern society. He sought true human unity by promoting harmonious relationship between man and woman. Later in his novels, Lawrence promoted the idea of the power-urge of man who possesses the strongest porter among persons. As his writing progressed to his old age, he thought that human relief could be found in phallicism. Though Lawrence had an inherent talent for writing, many of his novels include unnecessary sermon. They destroy the harmony of the novel and detract from its imagination. This fault, however, does not destroy the artistic portions of his novels, the checharacters of which are poetic, imaginative and symbollic . Lawrence considred himself a novelist and should, therefore, be dealt with as a novelist. Because of his thoughts, he has been appreciated not as an artist, but as a thinker, Today his critics have exposed this error and now appreciate him as an artist. In discussing Lawrence, it is important to deal with slim as an artist.

『사랑하는 여인들』에 나타난 등장인물의 갈등 연구

엄정옥 ( Jeong Ohk Ohm ) 한국로렌스학회 2002 D.H. 로렌스 연구 Vol.10 No.2

A Study of Jane Austen

嚴定沃 圓光大學校 師範大學 外國語敎育學會 1974 英語英文學 Vol.2 No.-

A Study of D.H.Lawrence's Prose Style

嚴定沃 圓光大學校 1982 論文集 Vol.16 No.1

The study attempts to clarify and define certain aspects of Lawrence's style that some critics have characterized simply as "poetic", incantatory", hypnotic", or "inexplicable". Lawrence's style can be accounted for, but only on the basis of close analysis, and the peculiarities of certain types of passages which are unique to Lawrence's work can be qualified. Lawrence's family was the most important inportant influences on his style. The central fact of his early family life was conflict, or tension always on the verge of erupting into conflict. Out of the conflict between Lawrence's parents grew what was to become a good part of their author son's private religion and much of the basis for his art. It was in his family that his sense of polarites began. We need to remember that Lawrence made symbolic connections with respect to his mother and father, and the parents represented to him opposing dialectial forces. The first and largest influence on Lawrence's literary work was his family, and by extension his family's religion. His sense of his religous family ties, his religion itself with its bymns and Bible training were the most important elements in the formation of his prose style. Taken alone, they can account for the repetitive cadences and the evangelical tone of much of his work, for the Biblical and religious diction, imagery, and symbols, and for the imagery and language of opposition; even perhaps for his feeling of "mission" as a writer. His love for the Bible, although he disclaimed it, was with him all his life. Lawrence uses the Nottingham/Derbyshire dialect as a language of the heart or blood as opposed to the "intellectuasl" or conceptual standard London dialect. We can find in nearly any given work almost all of the things that mark his style in differing combinations. But we can find certain types of passages more or less in isolation which will serve perhaps as a way into the prose. There are, for example, passages of intense nature description to be found throughout nearly all of the works. Lawrence uses the personification and alliteration in The White peacock and The Tresspasser. Sons and Lovers chronologically the next novel and The Rainbow which follows it shows it show further development in his ability to treat nature. By the end of The Rainbow, he had fully matured in his ways of evoking and using natural things in fiction. The prose used in the nature description of The Rainbow seems generally Biblical, and this sort of symbolic use of things in nature is mythical or Biblical. As we read through Lawrence's works, including the poems, we find that after nature description, the next most common aspect of his prose is "preachiness"‥ the prophetic voice. Along with his family and the chapel, we must also see that Lawrence's reading of Carlyle and Ruskin had some effect on his habit of breaking into "a preach". Much of the "prophetic voice" surely must be attributed to the frustration of Lawrence's rising expectations as a writer and a man of the world. What, then, of the passages of "preachiness" themselves? What are their stylistic characteristics, and what makes them unique to Lawrence? Sometimes his preaching was negative, ie, against the present with its machines and haste and sadism; and at other times he was a positve preacher, with a positive, though mystical, program for change. The passages positive, sure in tone, dogmatic and assertive, as if the speaker was morally knowledgeable. Their rhythms are driving and repetitive, somewhat like those we have examined in the passages of nature description, but more harsh, curt, pushy. Often they break easily in to the religious in ideals and diction. The another characteristics of Lawrence's prose style is symbolic. The characteristics which can be found in one degree or another throughout Lawrence's symbolic passages as follows. They are often associated with moolight oreerie light. They often have a rhythm of repeated action, of coming and going or of a particular, symbolic act recurring again and again. They use a rhythm of repeated images, which often symbol.

로렌스의 『무지개』연구 : 이상적 인간관계와 묵시록적 비전을 중심으로 Centering on the Idealistic Human Relationship and the Apocalyptic Vision

嚴定沃 圓光大學校 1996 論文集 Vol.31 No.1

This paper aims to find the idealistic human relationship andthe apocalyptic vision in the Rainbow. D.H.Lawrence uses his art to describe truth that the artist has to say. But to describe truth is not easy. Lawrence thinks that art would be the source of truth if the human being had the courage to express the truthful feeling. So Lawrence wanted the new form to describe his own feeling. Lawrence who thinks his art as "art for my sake" can exchange his strong inner emotionand emotional experience into literary art. This attitude of Lawrence toward the literature is clearly reflected in The Rainbow. The writer's vision is developed by polarity in Lawrence's novels. The characters of his novels continue the contrasting relationship between them. Their relationship uusually have the condition of approach and avoidance, harmony and disharmony. This relationship becomes the foundation of dualism resulting from the pursuit of polarity and consists of the basis of the literary thought that Lawrence creates. Considering this contedt, the most important vision described in Lawrence's novels is the pursuit of polarity. This pursuit of polarity is accomplished by Lawrence's effort in pursuing the idealistic human relationship. The rhythm of human relationship becomes the foundationof polarity. In short, the condition that the characters of Lawrence's novels atain the balanced relationship between them through the harmony and disharmony is the core of polarity which Lawrence seeks in his novels. In the Rainbow, the process that the conflict of each glneration's hero and heroine through three generations is harmonized and developed into the idealistic relationship is reflected and the moeern industrial society which prevent the accomphishment of the idealized human relationship is presecuted. The process that the idealistic human relationship is distorted by themodern civilization is ahaped apocalyptically.

A Study of D.H.Lawrence

嚴定沃 圓光大學校 1973 論文集 Vol.7 No.-

Lawrence wanted to know how he would be able to find the true units between man and man. He himself did not fit in society and he was lonesome. He was dependent on himself through his whole life. For him there was no real home without his self. His solitude forced him to pursue a certain relationship with others. Lawrence saw a contradiction in modern mechanism, the development of which brought sorrow in a civilized society. The failure of a portion of mechanism destroyed, at the same time, a portion of the human instinct. The best way to restore man's source is to emancipate him from the mechanical world and promote his recovery to sound flesh and blood. Lawrence, too, wanted to find the many contradictions of mechanism in his private religion- The religion of flesh and blood-as a relief for modern society. He sought true human unity by promoting harmonious relationsip between man and woman. Later in his novels, Lawrence promoted the idea of the power-urge of man who possesses the strongest power among persons. As his writing progressed to his old age, he thought that human relief could be found in phallicism. Though Lawrence had an inherent talent for writing, many of his novels include unnecessary sermon. They destroy the harmony of the novel and detract from its imagination. This fault, however, does not destroy the artistic portions of his novels, the characteristics of which are poetic, imaginative and symbollic. Lawrence considered himself a novelist and should, therefore, be dealt with as a novelist. Because of his thoughts, he has been appreciated not as an artist, but as a thinker. Today his critics have exposed this error and now appreciate him as an artist. In discussing Lawrence, it is important to deal with him as an artist.

민속놀이를 활용한 한국적 이미지의 캐릭터 개발에 관한 연구

문명옥(Moon Myeng-Ok),엄정옥(Um Jung-Ok),이진숙(Lee Jin-Suk) 한복문화학회 2014 韓服文化 Vol.17 No.4

Recognizing that the character design has been a pillar of the culture industry, We developed the characters with Korean images to publicize the Korean culture more friendly and at the same time contribute to create relevant revenue. The Korean characters, as the media of delivering Korean sense, have the business value and additionally can be the means of communication to stir up the Korean culture and sense. The folklore plays have carried our game culture when being done and converted as a changed type with a certain historical identity in the Korean peninsula. Besides, they, having play feature, recreational feature and art feature, are adequate for expressing Korean images because they have expressed the sensibility and emotion of Koreans very well. We expressed the Korean images by developing the characters of Wunge and Wungsune that are personified bears adopted from the kite-flying, a well-known and familiar traditional folk game to not only adults but also children, and the DanGun Myth, a state-founding myth. The development of characters with Korean images has been processed in the series of concept selection, design sketch, characters design, characters completion, and characters evaluation. Based on the evaluation of the characters designed from this study, folklore plays are adequate to express the Korean images and characters of Wunge and Wungsune show well the Korean images and folklore plays as Korean game culture. And they are excellent in the aesthetic point of view. Wunge and Wungsune are well matched with other folklore plays like seesaw and kicking game, not to mention the kite-flying so they could be adapted to various other folklore plays. If we can develop various characters with Korean images and use them in several areas, they will greatly contribute to the effective publicity activities on the traditional culture, the rise of national images, and the creation of economic added value.

『親蠶儀軌』에 나타난 복식 연구

엄정옥(Um Jung-Ok),유송옥(Ryu Song-Ok) 한복문화학회 2011 韓服文化 Vol.14 No.1

‘Chinjamrye’(親蠶禮) and ‘Chingyeongrye’(親耕禮) are agriculture-related royal ceremonies that had originated in ancient China. In ‘Chingyeongrye’, the King did the farming in the royal field in person; while the Queen did the silk-farming in the palace in person in ‘Chinjamrye’. By doing ‘Chinjamrye’, the Queen encourages farmers to be more industrious in silk-farming so that they can make more clothes; which would be the foundation of richness and strength of the state. The royal ceremony ‘Chinjamrye’ was led by the Queen; which is rather exceptional because very little things were led by females in a strictly Confucian Joseon society. ‘Chinjam-euigwe’(親蠶儀軌) is a publication that recorded the procedure of ‘Chinjamrye’ ceremony that was held in the year 1767, the 43rd year of King Yeongjo. According to this publication, ‘Chinjamrye’ consists of ‘Jakheonrye’, ‘Chaesangrye’, ‘Jinharye’, ‘Johyeonrye’ and ‘Soogyeonrye’. ‘Jakheonrye’ was a ritual dedicated to the ‘god of silk-farming’ and ‘Chaesangrye’ was picking mulberry leaves from mulberry field. ‘Jinharye’ was receiving greetings from the eldest grandson of the King and senior government officials; while ‘Johyeonrye’ was receiving greetings from the King’s concubine and the wife of eldest grandson of the King. ‘Soogyeonrye’ was the silk cocoon receiving ceremony. Everybody wore different clothes during these five different ceremony-procedures. Different from previous incidents, during the ‘Chinjamrye’ held in the 43rd year of King Yeongjo, the King participated in the partial ceremony led by the Queen in person. Therefore, it is possible to learn about the formal ceremonial wears of the King, the eldest grandson of the King and senior government officials. The king and the eldest grandson of the King wore the ‘Ikseon-gwan’, a red silk hat worn by the King, the ‘Gonryongpo’, King’s wearing with dragon pattern; or, the ‘Wonyoo-gwan’, a black silk crown worn by the King and the ‘Gangsapo’, a red formal wear of the King, dependent on the ceremony procedure. The Queen, King’s concubine and the wife of the eldest grandson of the King wore the Jeokeui, red silk clothes decorated with blue pheasant; while they wore double-layered robes during the Chaesangrye as work-wear. Senior government officials wore the ‘Jobok’, the formal official’s uniform, and the ‘Heukdanryeong’, a black round-neck robe. Ladies living in royal palace and the wives of government officials wore the ‘Wonsam’, the ladies’ robe. During the ‘Chaesangrye’, they all changed to casual wear for working convenience. This study would like to suggest that the ‘Chinjamrye’ to be performed as a periodical representation event. It would contribute in the preservation of traditional culture by representing the royal culture and royal wears in the late Joseon dynasty.