비잔티움의 항해: 예이츠의 의도와 이미지

봉준수 한국현대영미시학회 2002 현대영미시연구 Vol.8 No.1

Joon-Soo BongIt has been a long established critical tradition that Yeats's "Sailing to Byzantium" is a consummate Platonic poem, which celebrates the supremacy of soul over body, of art over nature. The poem is fully equipped with the kind of rhetorical devices and poetic structures that tend to lead readers to one or another transcendental reading. The transcendental approach, in turn, has been influenced by what can be broadly termed as Yeats's 'intentions,' including his remarks on his own poem, biographical information, and the way the holy city of Byzantium becomes a symbol of Unity in his theosophy.This paper offers another look at the much celebrated poem. While the authorial intentions and the symbolic functions of Byzantium and the golden bird in the context of the poet's private myth should be taken into consideration and carefully explored in every reading of the poem, they do not serve, I would like to argue, as the best guides to its full intellectual and emotional potential; rather, the significance of Byzantium and the golden bird should be understood in the immediate ontological context of the poem, in which the poet's 'Byzantine' symbols of transcendence and art can be given more human significance as recalcitrant, earthly images. In other words, the poem's value derives from its failure to become a Platonic lyric.

엘리엇의 흄

봉준수 한국현대영미시학회 2010 현대영미시연구 Vol.16 No.2

This paper explores the relationship between T. E. Hulme (1883-1917) and T. S. Eliot (1888-1965), focussing on their intellectual affinities and the ways in which Eliot exploited them in his campaign for ‘Classicism.’ Eliot consistently quoted or made references to Hulme’s texts, thus generating one or another textual network, which was, in the first place, made possible through the remarkable similarities between their intellectual trajectories: they both struggled against the mechanistic world-view at the turn of the century and embraced Henri Bergson’s life philosophy enthusiastically; however, their enthusiasm did not last long mainly because the French philosopher’s Romantic outlook was ultimately incompatible with their Classicist view. In a nutshell, Classicism stresses man’s extremely fixed nature and relies on external authorities as is fully indicated in Hulme’s and Eliot’s unreserved endorsement of royalism and Anglo-Catholicism. Eliot’s radical distrust of self or “individual talent” led him to search for something outside himself and the figure of allusion represents a literary manifestation of such a philosophical temper. Eliot repeatedly expressed his admiration for Hulme, but as I have tried to show in this paper, Old Possum also continued to invoke Hulme the poet-philosopher to promote and bolster his own cultural and literary position in deliberately strategic ways.

Spenser's Self-Reflexive Gaze upon Clidore : Allegory and Contingency in Book VI of The Faerie Queene

봉준수 연세대학교 영어영문학회 1995 영어영문학연구 Vol.17 No.-

Book VI of The Faerie Queene ("The Legend of S Calidore or of Courtesie") registers Spenser's darkening vision most clearly in the final escape of the Blatant Beast as well as in the conceptual instability of courtesy These symptoms of thematic rupture find their structural counterparts in the difficulty of maintaing what William V Nestrick aptly calls "the rigor of allegory" The pressure of contingency and irony in Book VI is inseparable from the poet's self-reflexive gaze upon his own allegorical framework "Art works of all kinds may criticize their own 'kind,' by directing irony at the method they happen to enjoy" More precisely, the multiple layers of irony embodied in Calidore--the titular hero of Book VI--generate more than a mere criticism of allegory as a mode of literary discourse, the transition throughout the whole epic poem, from the optimistic vision of allegory to the question of its own artistic basis and vision, indicates a kind of exhaustion on the part of the poet Calidore's speech and action significantly destabilize the norms of allegorical characterization and narrative already established in the preceding Books, especially in Books I and Ⅱ

Ivy Day in the Committee Room

봉준수 연세대학교 영어영문학과 1983 영어영문학연구 Vol.7 No.-

"Ivy Day"에서 Joyce가 나타내려고 했던 Dublin의 정치적 마비상태는 강력한 지도력을 가지고 있었던 Parnell의 부재(不在)를 의미하고 있다. 즉, Parnell이 정치를 이끌었던 옛 시절과, 구심점을 찾지 못하고 혼란에 바진 Parnell의 사후(死後)와의 대조가 암암리에 나타나고 있는 것이다. 이와 같은 과거와 현재의 대조는 구체적으로 늙은 세대와 젊은 세대의 대조로 나타난다. 이 경우 젊은 세대는 별 희망을 걸어 볼 수 없는 상태이며, 또한 지나간 세대에 비하여 못한 것으로 나타나고 있다. 그 첫 번째 예는 다음과 같이 Old Jack이 멋대로 술을 마시고 돌아다니는 자기 아들을 탄하는 대목에서 발견된다 - Ah, yes, he said, continuing, it's hard to know what way to bring up children. Now who'd think he'd turn out like that! I sent him to the Christian Brothers and I done [sic] what I could for him, and there he goes boosing about I tried to make him someway decent. (p. 131) 게다가 Old Jack은 바로 이러한 세대간의 대조가 나타내고 있는 한가지 사실을 정확히 언급한다. 곧 세대간의 위계질서의 붕괴이다. "What's the world coming to when sons speaks [sic] that way to their father?" (p 131) 이렇게 빗나간 아들을 가진 Old Jack은 그가 Committee Room에서 함께 하는 다른 젊은이들에게서도 정당한 대우를 받고 있지 못하다. 이는 Mr. Henchy가 Committee Room으로 들어왔을 때 충분히 엿볼 수 있다 - Sit down here, Mr. Henchy, said the old man, offering him his chair. - O, don't stir, Jack, don't stir, said Mr. Henchy He nodded curtly to Mr. Hynes and sat down on the chair which the old man vacated (p 134, 이탤릭體는 글쓴이의 것) 이처럼 세대간의 위계질서는 무너져 있다. 또한 Joe Hynes와 이미 고인이 된 그의 아버지 Larry Hynes와의 대비도 과거에 못미치는 현재라는 의미를 포함한다. Joe Hynes가 잠시 Committee Room 에서 나가자, Mr. Henchy는 그와 그의 아버지를 비교하면서 이렇게 이야기 한다. - His father was a decent respectable man, Mr. Henchy admitted Poor old Larry Hynes! Many a good turn he did in his day! But I'm greatly afraid our friend is not nineteen carat. (p 136) 이처럼 새로운 세대는 지나간 세대에 비교하여 바람직하지 못한 모습으로 그려지고 있다. 이는 Queen Victoria와 Edward 7세의 관계를 살펴보아도 찾아 볼 수 있다. 지나치게 대담한 표현이어서 출판시 문제가 되기도 했던 그 부분은 다음과 같다. Here's this chap (Edward 7세) come (sic) to the throne after his old mother [Queen Victoria] keeping him out of it till the man was grey He's a jolly fine fellow. He's just an ordinary knockabout like you and me He's fond of his glass of grog and he's a bit of rake, perhaps, and he's a good sportsman (p 144) 이렇게 가벼운 필치로 그러지는 Edward 7세는 과거 전성기의 영국을 건설한 Queen Victoria와는 사실 비교가 되지 아니한다.

Reading Memory and Desire in “La Figlia Che Piange”

봉준수 한국T.S.엘리엇학회 2018 T.S. 엘리엇 연구 Vol.28 No.1

“La Figlia Che Piange,” one of the poems included in T. S. Eliot’s first volume of poetry, has attracted relatively meagre attention from critics, much less than, say, his early masterpiece “The Love Song of J. Alfred Prufrock” or “Portrait of a Lady.” The poem has often been noted for its beauty and lyricism, but the speaker’s destabilized presence deserves more discussion than it has received so far. “La Figlia Che Piange” presents a male speaker who (re)enacts and transforms his memory of a breakup in three verse paragraphs consisting of imperative, pluperfect subjunctive, and indicative sentences, respectively. As a poem of introspection, “La Figlia Che Piange” explores the speaker’s memory in grammatically complex ways, but the poem’s inward-turning eye discovers an unstable self as elsewhere in Eliot’s poetry. Nevertheless, all this is heuristic in discussing modern poetry and serves a good example of Wallace Stevens’s “poem of the mind in the act of finding / What will suffice.”

극적 독백과 서정시: 발화양식에 대한 고찰

봉준수 한국영미문학교육학회 2000 영미문학교육 Vol.4 No.-

영미 모더니즘과 흄

봉준수 국제언어인문학회 2008 인문언어 Vol.10 No.-

In spite of his fast-changing intellectual trajectories, T. E. Hulme (1883-1917) tends to be neatly labeled as a precursor of Imagism and Classicism (more precisely, ‘Classicist Modernism’) in many literary histories. This labeling helps literary historians place or demarcate Anglo-American Modernism conveniently in their historical narratives, but the convenience comes with a cost. For example, Hulme the Bergsonian disappears from the view even though his inadvertent Romanticism, as exemplified in his celebration of the French philosopher’s romantic concept of intuition, serves as one of the foundations of his poetic theory. Here, Hulme’s much anthologized essay “Romanticism and Classicism” is a case in point. Although it is often hailed as a seminal text of Modernism, it holds on to Romantic notions of poetry emphasizing individuality and subjectivity; the Hulme of “Romanticism and Classicism” is a transitional figure straddling Romanticism and what is to become Classicist Modernism. In fact, what has been rather uncritically viewed as Hulme’s Classicist and Imagist position is a faithful reflection of his age, and accordingly, he can be seen as a site in which the intellectual currents of the late nineteenth and early twentieth century collide, disappear and/or merge. As a whole, Hulme’s writings reveal how promptly he mirrors his turbulent and dynamic age rather than expressing his own original perspectives or individuality, whether philosophical or literary. It is precisely this lack of originality--“impersonality” if we borrow T. S. Eliot’s term--that makes him significant and ‘useful’ in delving into the dynamic nature of Anglo-American Modernism in its early phase.

번역과 정체성 : 누가, 무엇을, 왜?

봉준수 국제언어인문학회 2016 인문언어 Vol.18 No.-

하나의 번역을 접할 때 특정 부분의 정확성에 대하여 궁금증을 품는다거나 오역의 가능성을 떠올려보는 것은 매우 자연스러운 일이다. 물론 번역에 있어 서 ‘정확성’이란 무엇이며 ‘오역’이 과연 무엇인지 구체적으로 의문을 제기하 기 시작하면 실로 복합적인 문제들이 모습을 드러낼 것이며, 정확성의 판별이 결코 쉽지 않음을 직감하게 될 것이다. 두 말할 나위도 없이 번역은 매우 다 양한 논점들을 품고 있는, 실로 복잡다기한 작업이다. 이를테면 ‘정확성’의 문 제와 함께 ‘가독성’ 또한 번역에 대한 논의에서 빈번히 등장하는데, 가독성을 추구한 나머지 번역문이 마치 원전처럼 자연스럽게 읽히면 안된다는 입장이 있을 수 있다. “번역문이 귀에는 번역문처럼 들리고 눈으로 보기에 번역문처 럼 읽혀야 한다”([ix])는 나라시만(Narasimhan)의 주장은 번역문의 가독성이 번역으로서의 정체성의 문제와 직결되어 있음을 일종의 역비례 관계에 놓여 있음을 암시한다. 쓰지 유미의 질문도 유사한 맥락에서 이해할 수 있다: “번 역은 외국문화의 ‘이질성’을 반영한 것이라야 하는가, 그렇지 않으면 번역은 어디까지나 자국의 문학작품처럼 읽힐 수 있는 것이라야 하는가[?]”(150). 본고에서는 번역이 항상 정체성의 문제와 결부되어 있다는 점을 상기하면 서 번역과 관련된 사회문화적 관계의 형성에 주목하고자 한다. 대저 모든 번 역의 가장 기본적이며 공통적인 맥락은 출발어와 도착어가 대변하는 두 문화 사이의 역학관계이며, 원저자, 번역자, 그리고 독자는 그러한 관계에서 특정 한 위치들을 점유하고 있다. 번역에서의 정체성은 이러한 위치들 사이의 관계 혹은 상대성에서 비롯하는 역사문화적 구축물이다. 이는 당연히 문화간의 힘 또는 권력(power)의 문제와도 맞닿아 있다. 본고에서 논의될 번역의 사례들은 진달래꽃 을 포함하는 김소월의 시의 영역, 에드워드 피츠제럴드(Edward FitzGerald)에 의해 페르시아어에서 영어로 번역된 『오마르 카얌의 루바이야트』(The Rubáiyát of Omar Khayyám), 그리고 망명객 강용흘이 미국에서 영어 로 써서 출간한 후 유영에 의하여 국역된『동양선비 서양에 가시다』(East Goes West)이다. 원작에 대한 충실성이나 가독성과 같은 번역의 질을 논하기 보다는 번역을 통해 정체성의 문제가 어떻게 구축되거나 드러나는지를 살펴 보고자 한다. This paper explores the question of identity in the broad conceptual context of translation while making references to the English translations of Sowol Kim’s “Azaleas,” Edward FitzGerald’s Rubáiyát of Omar Khayyám, and Yeong Yoo’s translation of Younghill Kang’s East Goes West. In general, an act of translation (re)defines not only what is translated but the translator himself or herself in multiple cultural contexts. For example, many Korean translators have translated “Azaleas” into English, which amounts to a collective construction of the Korean people’s lyric identity; it remains unclear, however, whether the English translations of “Azaleas” have potential to strike the chords of the readers in the English-speaking world. In contrast, FitzGerald’s Rubáiyát serves as an example of poetry translation functioning as a cultural resource to enrich the poetic soil of England. The Rubáiyát stands for a felicitous convergence between the “spirit” of the original and the need of late nineteenth- and early twentieth-century readers. The translation of East Goes West was motivated by the translator’s desire to uphold certain traditional values as representing the protagonist’s—and his own—cultural identity. On the contrary, the novel is mostly about troubled and troubling cultural border-crossings and the narrator’s fluctuating cultural identity, which the translator fails to see due mainly to his narrow focus on the spiritual superiority of East over West.

영미시와 일반 독자(김상무 지음 『필립 라킨의 시: 사랑과 시간과 죽음』 (태학사, 2004, 322쪽), 신재실 지음 『로버트 프로스트의 자연시: 그 일탈의 미학』 (태학사, 2004, 262쪽))

봉준수 한국영어영문학회 2005 영어 영문학 Vol.51 No.2

오스카 와일드의 시와 유미주의

봉준수 국제언어인문학회 2012 인문언어 Vol.14 No.2

This paper discusses the ways in which Wilde's poetry and aestheticism paradoxically celebrated their shared or parallel marginal status in the context of Victorian culture. Compared with his plays, fiction and critical essays, Wilde's poetry has been given insufficient critical attention, and it is worth exploring why Wilde the poet so consistently produced pastorals throughout his literary career. As a subgenre of poetry, the pastoral is significantly permeated with a sense of loss and belatedness because such an ideal and care-free world of shepherds and shepherdesses as depicted in the pastoral is a deliberately artificial and conventional--read generic here--construct. The pastoral represents, among other things, a delightful defiance of the very pressure of reality, and this generic or internal logic can be also witnessed in Wilde's famous aesthetic credo that Life imitates Art, a reversal of the time-honored mimetic view that art functions as a mirror held up to nature. According to Wilde's wry perspective, the public's lack of interest in poetry resulted in an ironic protection of it from the relentless materialism of the Victorian age. In a similar vein, aestheticism was past its prime when Wilde self-consciously appointed himself its chief representative. Regardless of his international fame after his lecture tour to the US (1882-1883), he was fully aware of his own culturally “marginal” position as an aesthete and nevertheless waged his aesthetic campaign cheerfully and valiantly.