금악행<SUB>琴岳行</SUB> 외 1편

양균원 계간 서정시학 2022 서정시학 Vol.32 No.3

거울 속의 페르소나 ―루이스 그릭의 부정적 자아

양균원 한국현대영미시학회 2023 현대영미시연구 Vol.29 No.1

This study aims to provide an analysis of Louise Glück’s negative self by first examining the implementation of the persona in her poems “The Mirror” and “Mirror Image.” Furthermore, it analyzes the poem “The Empty Glass” to show how the poetic speaker, referred to as “I,” is against solipsistic immersion and engages in conflict with external factors, including culture, destiny, uncontrollable forces, and the collective. Glück’s poetry is often mistakenly perceived as primarily concerned with lyrical pain. However, beneath its surface, her work delves into profound reflections on Western, particularly American, culture, the interplay between the individual and the collective, and the notion of a renewed self. While Glück’s speaker may initially appear highly personal, embodying a lyrical self, it consistently explores various conditions under which the negative self should work for a better life. “The Empty Glass” serves as a clear illustration of Glück’s approach to the poetic self in conjunction with the collective. Towards the conclusion of the poem, the speaker adopts a stance reminiscent of what Agamemnon should have expressed: “I have nothing.” By rejecting “what ... we have to appease the great forces,” the speaker finds a unique path forward. This suggests that if collective knowledge is merely a deception, then perhaps the solution lies in acknowledging our lack. The state of ‘having nothing’ can be viewed as an expression of the will to embark on a fresh start rather than a form of surrender. By shedding light on Glück’s exploration of the negative self, this study contributes to a deeper understanding of her poetry, revealing its multifaceted engagement with broader socio-cultural concerns and the complexities of the human experience. .

집밥의 왕자

양균원 계간 서정시학 2016 서정시학 Vol.26 No.2

잡종의 세상에서 쓰는 시― 조리 그레이엄

양균원 한국현대영미시학회 2010 현대영미시연구 Vol.16 No.1

This article aims to examine Jorie Graham’s Hybrids of Plants and of Ghosts, the first of her more than ten poetry books, to show how she started to come over the “perfected argument” of language. She obtained critical attention in that she developed her own way of responding to “the gap” or “the long sleep of resemblance” between language and what it refers to, the issue of which was raised by many contemporary American poets in the 1960s and early 1970s. Hybrids is the starting point from which Graham continues to develop such eccentric ways as silence, “white spaces,” and “ellipses” to confront what language fails to produce, while every book of hers is intended to find a better access to it. In “THE WAY THINGS WORK” things are considered to be open to one another and give rise to hybrids. The poet is called upon to be keen to the points where nothing essential is allowed and only relations remain. Thus, in “HYBRIDS OF PLANTS AND OF GHOSTS,” the “only perfection” of things is their “weave” and “knot” through “grafting.” In “THE GEESE” the speaker is attracted to the “astonishing delay” of spiders as well as to the “code” of geese. The poet seems to be somewhat away from Language poets in that she still makes an effort to reach something inexpressible while using the limitations of language. Although her next books show “sea change” in words of silence, Hybrids is exemplary enough to point to the “accurate failures [of language]” where Graham’s creative energies are all devoted to the confrontation with the gap between language and experience.

문자 C로서의 희극인 : 현실주의자의 상상력 The Imagination for a Realist

양균원 대진대학교 1995 大眞論叢 Vol.3 No.-

At the end of 'The Comedian as the Letter C,' Crispin the protagonist accepts his fate as realist after a voyage of romantic perceptions which had been dissolved by the sea and frightened by the thunderstorms of Yucatan. This acceptance might be unavoidable since he was not allowed to rely on the romantic and mythological imagination of the past. But Crispin's surrender to reality does not necessarily mean failure of his imagination. Although Crispin comes to terms with a life "without the slightest adventures," he never quite vanquishes his imagination. The point is that the imagination should be of different king and help "the stiffest realist" to lay hold of the potential in the real. This cannot be said to be an ultimate union of reality and the imagination, but it is no doubt sure that Crispin's quest for reality was not intended to disapprove the imagination itself. Crispin's problem was to find a new imagination for a realist. This poem is about how an everyday man lives an imaginative life, accepting his fate as yeoman and grub.

월리스 스티븐스의 시에 나타난 개별성의 양상에 대한 추적

양균원 한국현대영어영문학회 2003 현대영어영문학 Vol.47 No.1

To lead a poetical life, for Wallace Stevens, was to dwell on the earth without the help of anything Absolute but human mind. However, the mind or imagination, which Stevens considered as a necessary constituent of life as well as poetry, did not necessarily mean its omnipotent control or creation of the world. He used the imagination the way we rarely expected the Romantic imagination to work. Despite his apparent dependence on human mind, Stevens did not allow it to create the world as imagined. The world as reality, for Stevens, was constructed through a variety of relations among many parts including the poet himself. First, reality of a certain thing is constructed in its relations to the poet. Second, it is also composed in its relations to other things surrounding itself. Third, it is gradually formed as the constituents of the first and second relations resemble and influence one another over long years. In this formation, human mind is not a creator but merely a participant, however true it is that the participant sometimes takes a leading role. Over his whole poetic career Stevens never ceased to trace an ever-changing agreement between himself and the thing. He yielded himself to the hardness of the thing itself as often as he did to his mind. In terms of general and historical relations involved in the formation of reality it was created or revealed not by the poet but out of life. Stevens no doubt regarded man as part of a certain whole although he was easily treated as a model of humanism by people who gave hasty trust to the imagination. In Stevens's characteristic comprehension of the thing, reality was so individual and particular that it could not be generalized into rational knowledge. Besides, it turned to be somewhat abstract and communal because it mingled with something spiritual of the place which was formed through historical relations and resemblances between the poet and his surrounding things for a long while. This abstractness was not such conception as to reach through the process of generalization. It was the invisible which was naturally absorbed in the visible. This communal traits of reality was not made out of social ethics and norms. It did not have a tint of high culture and tradition as in T. S. Eliot's concept of "the mind of Europe". It was local traits formed through a long history of affinity between the place and the poet living there for life. Stevens traced aspects of reality in his poetry of the earth and expressed his faith in a possible beauty of the world without God.

탈(脫)서정의 서정 ―루이스 그릭의 충직하고 고결한 밤

양균원 한국현대영미시학회 2021 현대영미시연구 Vol.27 No.1

Louise Glück has a distinct poetic voice whose lyrical appeal seems to depend on her personal honesty. Readers are likely to feel as if the poet herself spoke directly to them in a confessional way. However, it would overlook the flexibility and complexity of what comes out of her annulled or negated self. Granted that she is somehow lyrical in the Romantic tradition, this paper intends to examine how she is to utter a deliberately detached voice with emotional intensity, standing against lyricism. A close reading will be given to “Faithful and Virtuous Night,” a title poem from her 2014 National Book Award winning collection. “Faithful and Virtuous Night” can be appreciated with its full meaning when the speaker is approached as without egotistical self. Without preconceptions about the world, the speaker is at liberty to respond what comes to her body and mind. In her negative capability, biographical materials are mingled with, and extended to, the speaker’s aspirations and introspections. The anecdote of orphan’s solitude is both lyrical and metonymical. It feels like personal, but it still is capable of evoking all the places where we are isolated between what things are and what they might be. .

월러스 스티븐스의 시 가르치기-「검정새를 보는 열세 방식」

양균원 한국영미문학교육학회 1998 영미문학교육 Vol.2 No.-

A Lesser Hero in “The Love Song of J. Alfred Prufrock”

양균원 한국T.S.엘리엇학회 2007 T.S. 엘리엇 연구 Vol.17 No.1

“The Love Song of J. Alfred Prufrock,” an early famous poem of T. S. Eliot’s, is evaluated lower than his later masterpieces such as The Waste Land and Four Quartets. The evaluation seems valid when their languages and literary techniques are comparatively taken into consideration. But when it comes to the critique that Prufrock is not strong enough to represent Eliot both as the progenitor of the twentieth-century’s modernism and as the advocate of traditional orthodoxy, it would be fair to give him reappraisal. This article examines Prufrock in order to prove that he has good reason to be treated as a lesser hero qualified with a stronger spirit than often expected. First, Prufrock is not in a schizophrenic state, since the divided selves are deliberately dramatized with a monologue technique within the poet’s inner space, and finally unified again in the end. The protagonist needs a stronger spirit to remain in the uncertainties of the self division than to indiscreetly set the world in order. Second, Prufrock’s hesitation or irresolution ironically proves that he keeps seeking his wish despite his full knowledge of future defeat. Hesitation will stop as soon as hope stops. Prufrock is capable of being stuck in the abyss between his keen awareness of defeat and his stubborn refusal to stop the quest. This situation continues throughout the poem, which must require him to have much bearability. Third, Prufrock’s drowning in the imaginary sea is simultaneous with his waking up in the real world. His death by water is almost willful. In the end, Prufrock as the unified “we” is not drowned but “drown,” for the sake of the real world, with which he is baffled, over which he can’t afford to come, and in which he chooses to stay. These qualifications demand that Prufrock be newly interpreted as a hero, even though as a lesser kind.

자아의 부재에서 목소리를 내다─루이스 그릭

양균원 한국현대영미시학회 2009 현대영미시연구 Vol.15 No.2

This essay examines Louise Glück’s unique way in which she develops a new lyric voice of her own by speaking with “no self” and by employing emotionally removed tone. From her experience of psychoanalysis, Glück learned to give herself a voice ripped between the praises which she wants to hear from the world and the demands of her spirit with which she opposes herself to the world. The voice is the one which never existed and can issue only from “the enduring general deriving continually from the accepted individual life.” It conveys the sense of speech issuing “not from the past but in the present” and “the sense of immediacy [and] volatility.” Her lyric voice is so deliberately manipulated as to make Glück distinct from the confessional mode. In her poem sequences as in Descending Figure and in The Wild Iris, the “I” is allowed to have a wide range of perception with no central self. Especially in The Wild Iris, flowers have their own individual voices, which are often intervened by the voice of a poet-gardner or by that of a gardner-god. In addition to her austere writing style and emotionally detached tone, Glück’s unique abilities with the lyric voice contribute to her recognition as a leading American poet. This essay examines Louise Glück’s unique way in which she develops a new lyric voice of her own by speaking with “no self” and by employing emotionally removed tone. From her experience of psychoanalysis, Glück learned to give herself a voice ripped between the praises which she wants to hear from the world and the demands of her spirit with which she opposes herself to the world. The voice is the one which never existed and can issue only from “the enduring general deriving continually from the accepted individual life.” It conveys the sense of speech issuing “not from the past but in the present” and “the sense of immediacy [and] volatility.” Her lyric voice is so deliberately manipulated as to make Glück distinct from the confessional mode. In her poem sequences as in Descending Figure and in The Wild Iris, the “I” is allowed to have a wide range of perception with no central self. Especially in The Wild Iris, flowers have their own individual voices, which are often intervened by the voice of a poet-gardner or by that of a gardner-god. In addition to her austere writing style and emotionally detached tone, Glück’s unique abilities with the lyric voice contribute to her recognition as a leading American poet.