Seamus Heaney 詩에 나타난 전통

洪誠淑 한국제임스조이스학회 1997 제임스조이스저널 Vol.3 No.1

에밀리 디킨슨: 죽음 탐구자

홍성숙 청주대학교 인문과학연구소 2010 人文科學論集 Vol.41 No.-

Emily Dickinson is a peculiar poet in the respect that she was preoccupied with death throughout her life, which is proved by the fact that more than five hundred among one thousand and seven hundred poems she wrote concerned death. Such attitude of hers would have been made by her faith, puritanism, and deep and sore wounds of love. What I suggest here is that although she belongs to the traditional Christianity, she never brings forth the problems of sin and redemption to make the aesthetics of death: "Parting is all we know of heaven, and all we need of hell." Through rereading Emily Dickinson's poems dealing with death, we can see that, although her view of death is fundamentally based upon New England's puritanism, it also reflects the conflict between Christian theology and science. Emily Dickinson tries to view death as the threshold to the immortality based on puritanism. She has, however, started to have doubt towards the Christianity's heaven and immortality. And then she, as an investigator, begins to investigate what death is. In short, Emily Dickinson has a view of death as a modernist in the respects that, based upon modern science, she wants to investigate death and that she views it as a routine not dissociated from life. Furthermore, she attempts to decorate death with an aesthetic color. My last conclusions are that her death poems show certain conflicts between religion and science, and also between morality and aesthetics, and that she is an investigator of death as well as an experimentalist of death.

조지 허버트 (George Herbert)와 로버트 헤릭 (Robert Herrick) : 영국 국교도의 경건과 세속의 예

홍성숙 청주대학교 인문과학연구소 2012 人文科學論集 Vol.45 No.-

The two Anglican priests seemingly show the contrasting attitudes toward life: Herbert is stoic while Herrick epicurean. For Herbert, religious things such as church and Christian festivals and faith form the key poetic materials; for Herrick, mainly folks tales and pagan festivals, flowers, imagined lovers, fairies and suchlike do. Although the two belong to the same branch of church, Herbert is very religious while Herrick very secular. In Herbert's poetry, the relationship between woman and man is ascetic; in Herrick's poetry, it is seductive. The whole tone of Herbert's poems is argumentative and confessional; that of Herrick's poems seductive and frivolous. On the other hand, the two writers seem to have many things in common. The first thing they seem to have in common can be found in their views towards ceremony: they, as Anglican church's priests, identify writing poems with making buildings. The second thing is that their poems show the seventeenth century's aestheticism that tries to harmonize differences such as 'cleanly wantonness' and 'discordia concors'. The third one is that some of their poems are transformed into songs. Fourth, their poems are all preoccupied with death and they try to find a way to recover from the death. Their contrasting attitudes to life lead me to the hypothesis that the Anglican church itself has contrasting colours within it, that is, holiness and secularity.

마르슬린 데보르드-발모르의 글쓰기

홍성숙 숙명여자대학교 아시아여성연구원 2008 다문화사회연구 Vol.1 No.1

르네상스 시에 나타난 죽음관

홍성숙 청주대학교 인문과학연구소 2009 人文科學論集 Vol.39 No.-

Through reading English Renaissance poetry from a view of death, we can see that the people of the era stood faced with a sense of fear and anger towards death, -like a warrior who resists the tyrant death, saying "I'll feed on death that feeds on man." Meanwhile Renaissance people associated death with sin, which reflects the idea that the paradise is allowed only to the people who do good deeds and repent and that the world after death is related to this world. Moreover Renaissance people think death as sleep can lead to peace. The writer infers from the above phenomena that Renaissance people's strong will to live and search for immortality were caused by their short span of life, which also accounts for why they chose a 'carpe-diem‘ way of life: while although Renaissance wanted to liberate people from God, it was a transitional period in which God still overdominated. Sir Walter Raleigh refers to death as the last scene of his comedy-like life ; Shakespeare describes death as a kind of sleep sometimes in the mood of anger; Donne as a sin and a gate toward heaven; and, Christopher Marlowe as something replaced for beauty, wealth and power of this world. What the Renaissance poets had in common is that their short life span and belief in the spiritual revival led to a contrastive way of life, -to wit, to enjoy this world or oppress their desires through penitence and prayer. Another common thing English Renaissance poetries show is that the personas are, on the whole, overreachers who desire their desires; ultimately they could achieve their dream of searching for immortality through procreation of descendants and poetries.

르네상스 영시에 나타난 사랑의 의미 고찰 : 와이어트, 스펜서, 말로, 셰익스피어, 던 그리고 밀턴을 중심으로

홍성숙 한국밀턴학회 2000 중세근세영문학 Vol.10 No.1

As compared with the Korean Renaissance poetry, interestingly, the English Renaissance seems to have offered a source for making the modern society and its poetry seems to focus on the subject of love. From here, we can make a hypothesis that love can be an embryo for the modern society, and hence that Freud's, Marcuse's and Foucault's theories of 'Eros and Civilization and History' are available. This paper begins by defining 'Eros' or 'eroticism' through pursuing the references of long history, and it looks into seven types of love of the English Renaissance period in order to know how major poets of that time expressed their love. My conclusion is that the love in the poetry of that time is a metamorphosed desire of power, money and knowledge which are well represented by Christopher Marlowe's heroes. In the love poetry of the 16th English century, palace and king or queen are idolized as object of love; in the 17th century, love gradually has the individualistic meaning, as well as a social meaning contributing to formation of a modern society, -to wit, a democratic, industrial and imperial one. The paradox lies in the fact that although love ultimately searches for the individual and poetic freedom, her original intention has changed because of her disguised desire, i.e. the expansion of self into others, armed with values of the powerful countries. As the result, the modern society has been founded on the basis of the system which was directed toward the practical and identical values opposite to the poetic and individual freedom.

밀턴 (Milton)의 「리시다스 Lycidas」에 나타난 모더니티의 양상

홍성숙 한국밀턴학회 1998 중세근세영문학 Vol.8 No.-

Modernity represented by Renaissance can be compared to a dwarf who, standing on the shoulders of a giant, can see farther than the latter. Here the 'giant' means the classical culture of ancient Rome and Greece. The English Renaissance, the basis and draft of the contemporary world, was the period when modernity began to bloom. The English literature of this period shows the aspiring, active and practical, as well as the transcendental, mind as the embryo of modernity. Milton's works of his early period show his strong desire to transcend death and to achieve the immortal fame by writing the masterpiece. Such his attitude is similar to the postmordem one in the sense that he thinks much of writing itself and that he has strong consciousness of himself as writer. In Milton's Lycidas, besides the awareness of time and death, we can find the cyclical viewpoint of time in the classical culture similar to the point of view of time shared by postmodernism. Another aspect of modernity in Milton's can be called avant-garde because it is primarily based on the spirit of revolution including revolt to the corrupt church and on the eventual establishment of Utopia on earth. Lycidas is also based, in its form, on modernity: it has the complete combination of theme and imagery, enhancement of meaning by the technique of repetition, and command of new vocabulary as well as the large-scaled Baroque tone. Milton's view of fame that can be imposed only by God is similar to Gautier's attack of philistinism as a different aspect of modernity in the respect that it seeks for purity. Therefore we could conclude like this: Milton's Lycidas includes in itself postmodernism and avant-garde of five faces of modernity: modernism, avant-garde, decadence, kitsch and postmodernism.

제 3 세계 독자의 관점과 일원론 체계로 해석할 때 나타나는 『실락원』(Paradise Lost)의 고전으로서의 한계

홍성숙 한국밀턴학회 1997 중세근세영문학 Vol.7 No.-

Paradise Lost, one leading work of the puritan as well as of the patriotic literature, seems to be based on the so-called dualism, in which God and man, evil and good, or man and woman form one pair of two opposites. The western dualism which sees all phenomena and beings as standing against each other tends to enforce the hierarchical order. Besides, the dualism seems to lead to a materialistic and inhumane world, and all the more so in the power-dominated world. While in Milton' poems we can easily find the classical tradition and his lofty spirit of neglecting the material world, Paradise Lost contains the radical sense of the hierarchical order. And what Eliot labelled Milton, "the dissociation of sensibility", also can be thought to be related to such a dualism. Therefore Paradis Lost which reflects the western dualism may not be classified as a canon to third-world readers who have fallen a victim.

노벨 문학상 수상자 셰무스 히니

홍성숙 사회발전연구소 1995 한국인 Vol.14 No.12

Seamus Heaney’s ‘Hybrid Strategy’ in the Postcolonial Context

홍성숙 한국중앙영어영문학회 2005 영어영문학연구 Vol.47 No.4

For the colonization-experienced countries, ‘globalization’ is considered to be another threat of loss of their identity, but it is evident that we are living in the globalized hybridity. This paper is motivated by my personal thinking that the Republic of Ireland and modern Irish history are characterized by making and expanding their identity through the interaction with the hybridized current. And also this paper aims to investigate Seamus Heaney’s ‘hybrid strategy’, -that is, how Seamus Heaney reacted to the hybridization. For this, firstly, Homi Bhabha’s ‘hybridity’ and ‘the third space’ are studied and applied to reading Heaney’s poetry. Homi Bhabha’s concept of ‘hybridity’ offers the possibility of reinventing the cultural identity for the colonized through creating “the third space” where subversion may happen. Heaney’s poetry reflects the phenomenon of re-establishing a culture by negotiating a cultural hybridity while establishing the cultural identity. The development of Heaney’s poetry is characterized by a local writer’s resistance to a large force in an effort to win an ultimate and poetic freedom. Through rereading Seamus Heaney’s poetry, we can make sure that his poetry includes three ‘hybrid strategies’: resistance to hybridity, appropriation of hybridity and creation of a new vision beyond hybridity.