「탈형상화된 셸리」 와 (탈)형상화로서의 읽기

윤일환 한국비평이론학회 2020 비평과이론 Vol.25 No.1

This paper analyzes “Shelley Disfigured” by following de Man’s double strategy of a specular and non-phenomenal reading. It shows that all specular understanding in The Triumph of Life becomes blocked already at its thematic level. The paper then proceeds to the non-phenomenal reading that focuses on the materiality of language. The materiality of language such as the signifier, trope and grammar disrupts the iconic and signifying aspects of the figure. Only the positing power of language, however, partakes in the very violence of mindless and absolutely singular disruption of the figuration. Finally, the paper argues that disfiguration always stages only a figure in need of further disfiguration. 이 논문은 드만의 이중전략인 반성적 읽기와 비현상적 읽기를 중심으로 형상의 훼손된 셸리 를 분석한다. 반성적 읽기는 삶의 개선행렬에 나타난 반성적 이해가 이미 주제의 층위에서 봉쇄되어 있음을 보여준다. 다음으로 이 논문은 언어의물질성에 초점을 둔 비현상적 읽기를 수행한다. 기표 및 문법과 수사와 같은 언어의 물질성은 감각과 의미화의 기능을 지닌 도상적인 양상과 의미화의 양상을 단절한다. 하지만 형상을 지우는 토대인 언어의 정립하는 힘만이 형상성을 무심하고 절대적으로 단절한다. 마지막으로 이 논문은 읽기의 탈형상화를 위해서는 반성적 읽기와 비현상학적 읽기에서 얻은 부정적 지식을 탈형상화해야 함을 지적한다.

워즈워스와 초기 예이츠: 자아와 나르시시즘의 역설

윤일환 한국예이츠학회 2009 한국예이츠 저널 Vol.31 No.-

Analysis of how texts’ rhetorical strategies endanger or sustain the narcissistic structure of the self is an important approach in recent deconstruction criticism. This criticism carries out a challenge to the analogy between the mind and nature that is to establish a coherent image of the mind and the self. By taking Wordsworth’s the Prelude and a few poems in the earliest Yeats, this essay focuses more centrally on threats to the self and the possibility of self-representation posed by the process of representation itself. In Book IV of The Prelude, the dynamic of passion and memory operates through the image of self-knowledge as a ‘reflection.’ The motion from past to present is a totalization of the self by means of metonymical substitution: the mere eye that looks into the water receives a whole image. But as the word hang, deeps, and gleam suggest, the motion is not necessary to lead to a totality of the self. Passion and prop of affection is always already involved in the self-reflection, preventing it from closing upon itself. The complex dynamic of passion and memory thus is inimical to self-representation. The Blessed Babe passage in Book II is also governed by the figure of passage, present here in the word passion as a sort of originary movement. The self-recognition of the poet is structured as crossing between past and present relations. Here substitution occurs as a transformation of the negation of the mother into a positive gain of nature. But the phrase ‘unknown cause’ and the reference to a ‘trouble’ imply the disruption of the passage from the maternal props to natural properties. The dominant mood of Yeats's earliest poetry is one of narcissistic self-contemplation. The poet in the mood does not contemplate a thing in nature but the working of his own mind. The outside world is used as a pretext and a mirror for self-representation. In “The Song of the Happy Shepherd,” the shell is not sheer nature, impressing itself upon a passively receptive consciousness, but the subjective dream of a human imagination. In spite of the apparent replacement of all the substance of the object by its reflection, however, the image of the shell remains altogether conditioned by the existence of this object. The reflection can be left to exist as a mere phantom of the self without substantial existence of nature. The failure is made explicit in “The Sad Shepherd” where the same shell shatters his song into confusion. Yeats is well aware of this paradox. In order to escape from this narcissistic predicament, for example, he uses the image of a parrot in “The Indian to His Love” who rages “at his own image in the enamelled sea.”

희생 제의와 내밀한 질서로의 비전 -W. B. 예이츠와 죠르주 바타이유

윤일환 한국예이츠학회 2006 한국예이츠 저널 Vol.25 No.-

William Butler Yeats in his poetry consistently and repeatedly alludes to an ancient sacrificial ritual and the imitations of ritual techniques through words and rhythms. For him, the ritual enacts an inner vision of permanent beauty and harmony and enables us to participate in the transcendental experience of a rite. It is a kind of fundamental glue in the society for the maintenance of social structure; through the sacrifice of the victims are social bonds created and individuals joined. We may get a new meaning of the ritual sacrifice if read in Georges Bataille's perspective. While classical economic thought emphasized the need for an efficient utilization of resources to fight the ravages of the scarcity of economic resources, Bataille analyzes economic history in terms of the expenditure of excess energy and production. It is within this general economic context that Bataille begins an explication of the expenditure which first of all fundamentally is related to the sacrificial ritual. Symbolically, the victim, the one who offers the sacrifice, and its participants are all seen as removed from the demands of utility and consequently as possibly a sovereign subject. An immense symbolic tie was created between the victim of the sacrifice and those for whom the victim was a substitute. They enter the realm of the sacred, of the free subject who is not subordinated to the demands of useful production. Sacrifice is the means of dissolution, of ceasing to be separate individuals caused by the demands of utility. Like Bataille, Yeats often clearly sees and evokes the effects of sacrifice to ensure symbolize the transcendental vision of whole beyond ordinary experience or expression. He inclines to consider the sacrificial ritual as the ultimate act of transcendence over the anarchy of world, civil, and personal conflict. In Two Songs From a Play, it is revealed that the ritual is fed by the resinous heart of man, who enacts his awareness of death and his yearning for rebirth in his identification with the risen god. In the second section of Vacillation, Yeats also presents a ritual ceremony in which Attis' image is hung between the two parts, uniting death with eternal life, assuring immortality. He who performs this rite May know not what he knows but knows not grief. In Parnell's Funeral, where he associates the dead Parnell with an ancient god, Yeats evokes the rite to exalt the hero only to exposes the extremity of the need for godlike qualities and the impossibility of fulfilling this need in a barbaric time. It does not allow for the kind of expression of personal power and subjecthood found in the sacrifice.

「내전기의 사색」: 민족주의 담론과 역사기술

윤일환 한국예이츠학회 2016 한국예이츠 저널 Vol.50 No.-

「내전기의 사색」에서 예이츠는 고귀한 과거를 현재에 되살리기 위해 희생이 불가피하다고 주장하는 아일랜드 민족주의 담론에 대해 깊은 우려를 표시한다. 문화의 통합을 이룬 과거와 폭력의 순환을 낳는 현재 간의 단절을 제시한 후 시인은 탑을 예술화하여 통합의 상징으로 재건하려한다. 그는 「나의 테이블」에서 예술의 대상이자 전쟁의 도구인 사토의 검을 통해 역사적 연속성을 찾으려하지만 공허한 메아리만 되돌아온다. 「대문 앞 도로」로 시작되는 3편의 시에서 예이츠는 내전을 직접적으로 다루면서 폭력을 영웅시하고 죽음을 고귀한 희생으로 삼는 민족주의 기획의 허구를 본격적으로 드러낸다. 이 연작시의 마지막 시인 「증오와 가슴의 충만과 다가오는 공허의 환영을 나는 보노라」는 자크 모레이를 위한 복수의 환상을 중심으로 혼돈과 폭력의 이미지로 채워져 있다. 이 환상은 이념적 복수와 순교의 영웅적 역사기술에 사로잡혀 있는 민족주의 담론의 독단과 폭력성을 상징적으로 보여준다. In “Meditations in Time of Civil War” Yeats questions the nationalist’s discourse of Republican and Free State’s appeals to sacrifice for bringing back Ireland’s noble past in the present. He opens the poems by positing the split between the past in cultural unity and the present that merely perpetuates the cycle of violence. Then Yeats vainly attempts to link past and present by rebuilding in art the tower as a symbol of some preexisting unity. In “My table” he turns to Sato’s sword as an art object and an instrument of war in order to find historical continuation. In the last three sections, beginning with “The Road at My Door,” Yeats criticizes the nationalist for blindly rendering violence as heroic and death as noble sacrifice. “Meditation in Time of Civil War” concludes with images of chaos and violence by drawing on the fantasy of revenge for Jacques Molay, which poignantly points to the nationalist’s ideological compulsion for revenge in civil war and for historiographic reconstruction of martyrdom.

예이츠 시에 나타난 자연과 상징의 이중적 풍경

윤일환 한국예이츠학회 2015 한국예이츠 저널 Vol.46 No.-

예이츠의 성숙한 시에서 풍경은 이중적인 의미를 구현한다. 풍경은 한편으로 구체적이고 실제적인 자연의 유비적인 이미지 역할을 한다. 또 한편 풍경은 초월을 지향하는 상징의 열쇠로서 기능한다. 그의 시에 제시된 풍경은 눈앞에 펼쳐진 것처럼 생생하고 강렬하지만 본질상 지상의 상관물이 없는 초월적 상징에서 비롯된다. 그의 많은 시에서 풍경은 자연풍경과 감각적인 이미지에 의해 유혹되지만 심층적인 구조의 통일성과 의미는 비자연적이고 초월의 상징에서 나온다. 자연의 이미지는 초월의 상징을 외적으로 현시한 것이다. 하지만 초월의 상징은 현시되기 위해서 자연의 이미지가 필요하며 자연의 이미지에 의존하고 그것에 의해 동반된다. Yeats in his later poems often presents a double landscape which is both natural and transcendental. His descriptive and mimetic use of the landscape takes nature as an exterior object he observes while his symbolic landscape uses a familiar nature to mask transcendental symbols which originate from esoteric texts. Yeats, in his masterful hands, holds together the descriptive landscape of nature and deeper structure of the transcendental symbols, the earthly equivalence of which cannot be found.

『조각상』과 예이츠의 미적 형상화

윤일환 한국예이츠학회 2017 한국예이츠 저널 Vol.53 No.-

『조각상』 에서 예이츠는 고대 그리스에서 중세 인도를 거쳐 현대 아일랜 드에 이르는 예술의 역사를 형상과 무형상의 변증법이라는 관점에서 추적한다. 그는 피타고라스적인 수, 피디아스의 형상, 불상의 무형상의 형상 그리고 아일랜드의 형상 을 통해 예술의 역사적 변천을 제시한다. 『조각상』 은 형상과 무형상 간의 경쟁의 역사 뿐만 아니라 예술에서 형상의 의미에 대한 예이츠의 사색을 잘 보여준다. 그리스의 조 각상에 걸 맞는 아일랜드의 영웅적 행위를 형상화함으로써 그는 아일랜드인의 꿈을 밝게 비추기를 고대한다. In “The Statues,” Yeats traces a history of civilization through a history of its forms. Focusing on the dialectic between form and formlessness, he explores a movement of forms in civilization—from the Greek sculptural practice shown by Phidias to the intangible form of the Buddha in India in the middle ages and finally to modern Ireland that represents heroic passion associated with Cuchulain. “The Statues” illustrates Yeats’s conception of the meaning of form in art as well as the history of competition between form and formlessness. By embodying the heroic actions of the Irish, which fit the statues of Greece, he hopes to illuminate the Irish dream.

앨리스 풀턴의 실험 시학 ―배치와 다수성

윤일환 한국현대영미시학회 2014 현대영미시연구 Vol.20 No.2

Alice Fulton rejects the assumptions of the two most widely recognized poetic camps in recent decades that poetry should follow either mainstream conventions of expressive personal lyric or the radically disjunctive forms of Language Poetry. Her experimental poetics embodies the unconventional or innovative dimensions by drawing on scientific metaphors from modern science. Her poetry is immediately recognizable for its elaborated conceptualization of assemblage and multitude that connects and traverses heterogeneous elements laced with modern scientific terms. Her poetry, however, does not explore its images in the abstract object or independent area; rather it extends its boundary to the social and political culture constituted by performative practice. Fulton redefines and recreates poetry according to the multiforms of experience and intellect, branching out in numerous directions and intersecting on their separate paths to infinity.

W. B. 예이츠와 중심의 부재

윤일환 한국예이츠학회 2010 한국예이츠 저널 Vol.34 No.-

Faced with an unknown and uncertain reality in the early 20th century, W. B. Yeats is poignantly aware of the impossibility of objective truth as well as of ineffectiveness of all traditional modes of acquiring knowledge. He well recognizes that there is no center or a focal point of reference in a reality, which is sought over and over again. “The Second Coming” well expresses the absence of a fixed center or origin of experience in Yeats’s historical system. It shows that there is a non-locus at the center of all history, of all thinking, speech, writing, and action. “The Three Beggars” also gives a vivid illustration of how empty meaning swirls around a missing center and the lack of foundation, which is well represented by the three beggars’ collapse. Another poem “Among School Children” suggests that despite one’s efforts, one cannot arrive at “Presences,” which, like the answers to Yeats’s final rhetorical questions, are endlessly deferred. Despite such the limits and deferral of meaning, Yeats never gives up to assign meaning to the fragmentary reality by declaring and creating a symbol. In “A Dialogue of Self and Soul” the Self asserts the emblematic status of Sato’s sword and its covering. In “Blood and the Moon” Yeats again assigns meaning overtly by declaring the tower his symbol, though the poet in its last stanza, recognizing that ultimate wisdom is deferred beyond life, self-reflexively uses a metaphor of the blood stain to encode the limits of human understanding. In “1916 Easter” Yeats demonstrates what he can do as his part of a poet with the fragmentary reality. He calls each victim of the Easter Rebellion by name and writes it in verse, which denotes a bricolargic strategy of using the only language at hand to impose meaning on the painfully unresolved ambiguities of the Rebellion, even if he not only well recognizes that he can attribute no ‘truth-value’ to this transmutation, but also no longer expects to arrive at the final meaning of the political event in his poem.

예이츠의 『자서전』과 자아 다시쓰기

윤일환 한국예이츠학회 2022 한국예이츠 저널 Vol.68 No.-

Yeats’s Autobiographies describes his development as a poet through reveries over early childhood, separation from family, associations with various groups, and self-fashioning. Its chronological progression of the narrative is, however, obscured by several stylistic arrangements that Yeats gives to his experience. The self and the view of the world have vague and fragmentary qualities in combination with the disjointedness of images, diversity of their recall, and range of clarity. Yeats also introduces new characters and events abruptly in condensed images, thus often making the connection between successive sections appear highly tenuous. This discontinuity is seen to result from Yeats’s singular treatment of time, place, and person, from his syntactic choices of polysyndeton and asyndeton, or from his fragmentary portraits of family members, friends and rivals. In making Autobiographies, Yeats reconstructs the self as seen from the present moment of writing, the self that would not otherwise exist. 예이츠의 『자서전』은 어린 시절의 회상, 가족과의 이별, 다양한 집단과의 교류, 그리고 자아형성을 거쳐 시인으로 성장하는 과정을 묘사한다. 그러나 연대기적 진행은 서사를 일관성을 보여주는 것 같지만, 예이츠가 자신의 경험에 부여한 여러 문체적 장치에 의해 그 서사는 분명하지 않고 애매함을 지닌다. 이미지의 불연속성과 여러 기억들, 애매함과 명료함을 넘나드는 표현 등이 결합되어, 그의 자아와 주변세계는 모호하고 단편적인 속성을 지닌다. 예이츠는 또한 종종 응축된 이미지에서 새로운 인물과 사건을 갑자기 도입하여 연속된 절들 사이의 연계가 서로 상응하지 않는 것처럼 보이게 한다. 이 불연속성은 그가 시간, 장소, 인물을 독특하게 표현하거나, 접속사의 연속적인 사용 및 생략하는 구문을 선택하거나, 식구, 친구 및 경쟁자에 대해 단편적으로 재현하는 방식과 관련이 있다. 『자서전』을 저술하면서 예이츠는 글을 쓰는 현재의 순간에서 바라본 자아, 그렇지 않았다면 존재하지 않았을 자아를 재구성한다.

예이츠와 T. 스터지 무어의 철학 서신 : 지각된 대상이 존재하는 곳은 마음속인가 밖인가?

윤일환 한국예이츠학회 2018 한국예이츠 저널 Vol.56 No.-

예이츠는 21개월 동안 가까운 친구며 시인이자 예술가인 T. 스터지 무 어와 매혹적인 서신 교환을 하며 철학 논쟁을 한다. 철학 서신을 통해 그는 초판 환 상록 의 바탕이 되는 인식론 및 존재론적인 토대를 재점검한다. 무어와의 논쟁이 이어 지는 동안 예이츠는 지각된 대상이 존재하는 곳이 마음속인가 밖인가에 대해 명확하 게 밝힐 것을 끊임없이 요구받는다. 그는 버클리를 참조하면서 존재하는 것은 지각된 것이며, 물질적인 것은 없으며, 오직 정신적인 사건과 그것을 지각하는 사고방식이 있 을 뿐이라는 사실을 재확인한다 Yeats has a philosophical debate over 21 months in a fascinating correspondence with a close friend, poet and artist, T. Sturge Moore. Through the philosophical correspondence, he re-examines the epistemological and ontological foundations underlying the first edition of A Vision. Yeats is constantly being asked to clarify whether the perceived object exists in the mind or outside. Repeatedly referring to Berkeley, he reaffirms that to be is to be perceived and that there is no material thing, only a mental event and a way of thinking that perceives it.