Illusion과 Reality 사이의 괴리와 Illusion이 가져오는 비극에 대하여

이예성 경주대학교 1990 論文集 Vol.2 No.-

인간은 아주 쉽게 겉과 속이 달라질 수 있는 아이러니칼한 존재이며, 궁극적 실체, 실재, 진리. 현실(reality)을 제대로 깨닫지 못하고 눈앞의 환상, 허영, 잘못된 생각, 거짓된 것(illusion)에만 메달리다가 끝내는 비극을 불러오는 존재이다. 이러한 환상과 현실 혹은 실재 사이의 괴리에서 비롯되는 비극의 양상은 다양할 것이다. 이 논문에서는 우린 인간에게 가장 보편적이고 원초적이며 실존적인 주제를 다루고 있는 세 개의 극작품을 통해 이러한 주제를 다루고자 하는데, 첫째로, 어떠한 삶을 살아야 할 것인가라는 가장 보편적이고 원초적인 문제를 제기하는 종교적, 교훈적 목적으로 쓰여진 중세의 도덕극 Everyman, 둘째로, 역사적 발전과정에 있는 한 사회의 의식의 변혁기에 벌어질 수 있는 개인과 개인, 개인과 사회적 요구사이의 가치관의 차이에서 비롯되는 비극적 희생을 다룬 Friedrich Hebbel의 Maria Magdalena, 셋째로, 이상과 야망, 휴매니티와 비인간성, 정의와 부정이 처절하게 뒤엉키는 프랑스 혁명의 소용돌이 속에 빠져드는 일물들의 이념의 차이에서 생기는 비극을 다룬 Georg Büchner의 Danton's Death가 그러한 작품들이다.

『논어정의』에 나타난 노론(魯論)

이예성,이강재 서울대학교 인문학연구원 2018 人文論叢 Vol.75 No.2

. 본고는 청대 유보남(劉寶楠)의 『논어정의』(論語正義)에 인용된 노론(魯論)을 통해, 이문(異文)의 유형을 분류하고 그것이 갖는 학술적가치를 논하려는 목적을 갖고 있다. 한(漢)나라 초기의 『논어』 텍스트로는 노론(魯論), 제론(齊論), 고론(古論)의 세 가지 논어가 있었으며, 그중 가장 광범위하게 유포된 것은 노론이다. 한대의 장우(張禹)와 정현(鄭玄) 등이 노론을 기초로 하여 제론과 고론을 흡수하여 교수한 논어를 편찬한 이후, 이 세 가지 논어는 하나로 통합되었고 각 텍스트의원래 모습을 찾아볼 수 없게 되었다. 유보남의 『논어정의』는 문헌학적의미가 매우 큰데, 이는 한나라부터 청나라 때까지의 역대의 풍부한 『논어』에 대한 주소를 보존하고 있기 때문이다. 본고는 이 책을 주요한연구대상으로 삼아, 노론과 고론, 제론을 비교하여 그 같고 다름을 고찰하였다. 문자, 음운, 의미적 차이에 주목하여 세부 분석을 통해 노론이문의 구체적인 유형을 귀납하였다. 이와 동시에 본고는 『논어정의』 와 청대 고증학의 학술적 성과에 대해 논술하였다.

4.16참사 유가족이 경험한 상실의 복합적 의미 : 부모의 구술증언을 중심으로

이예성 한국구술사학회 2019 구술사연구 Vol.10 No.1

본 연구의 목적은 4.16기억저장소에서 발행한 『4.16구술증언록』을 통하여 4.16 참사 유가족 중 단원고 희생 학생의 부모들이 경험한 상실의 특성과 의미를 파악하는 것이다. 4.16참사 이후 한국 사회는 자녀를 잃은 유가족들의 슬픔을 지켜보고, 이들 이 겪을 트라우마를 우려하였지만 실제 유가족들이 4.16참사로 인해 어떠한 경험을 하고 있는지에 대해 크게 주목하지는 않아왔다. 본 연구는 이러한 상황에 대해 문제를 제기하며 특히 유가족의 경험을 개인적인 자녀와의 사별이나 자녀 상실의 차원에서만 접근하는 방식을 탈피하고 이들의 경험을 사회문화적 현상의 차원으로 파악하고자 하 였다. 분석 결과, 부모들은 1) 왜곡되고 혼란스러운 참사의 상황 때문에 자녀의 죽음 을 받아들이고 다루어 낼 온전한 기회를 상실하였으며, 2) 가족, 친척, 친구 등 가까 운 관계, 3) 국가 및 사회의 존재와 의미 상실을 경험하였다. 이와 같은 복합적 상실 을 유가족이 겪는 개인적인 경험으로 가두어 보는 것은 4.16참사의 결과를 온전히 이 해하는 데 한계를 가져 온다. 4.16참사로 인한 부모들의 상실 경험은 단지 자녀 상실 의 한 사례가 아니라, 사회문화적·정치적 요소 등에 따라 복잡하게 구성되어 다양한 차원에서 나타나는 역사적 경험이다. 그러나 이러한 중층적 상실의 상황 속에서도 부 모들은 동시에 새롭게 유대와 결속을 만들어내는 적극적인 관계 생성의 움직임을 보 이고 있다. The purpose of this study is to employ the “4.16 Oral Testimonies” complied by the 4.16 Memory Archives to investigate the multi-dimensional nature of loss that the parents of student victims of 4.16 disaster experienced. After the tragic incidents, although many in Korean society became concerned with the trauma and the sufferings of the parents, the multi-dimensional range of the loss experienced by these parents was often overlooked. In particular, since previous studies had focused heavily on the personal dimension of the parents’ experience, it had been difficult to recognize the loss experienced in the social, cultural, and political dimensions of their lives. With the attempt to understand the complexity of the 4.16 disaster, this study offers a way to understand the loss caused by 4.16 disaster as a historical experience by investigating the bereaved parents’ experiences of loss at social, cultural, and political dimensions. The results of this research show that the parents experienced loss of: 1) opportunities for proper rituals to mourn for the death of their children due to the distorted representations of the incident in the media and the social and political struggles that followed; 2) many close relationships and communities, such as family, relatives, and friends; and 3) trust in the state and the society. However, despite complicated and multi-layered experiences of their loss, the parents also actively create new social relationships, bonds, and communities by actively participating in movements including this oral testimony.

Wordsworth의 낭만적 자연관과 생태학적 태도

이예성 경주대학교 1999 論文集 Vol.12 No.1

It is not too mush to say that William Wordsworth was the first and the last poet, who recognized the importance of nature. The purpose of this study is to shed light on his romantic idea of nature and its relation to ecology. His belief in nature is ecological one. His ecological attitude toward nature can be a ray of hope for resolving today's environmental crisis. As E. C. Semple said, "man is a product of the earth's surface". But man has been regarding himself as the central fact of the universe and has thought that he is entitled to conquer or exploit nature at will. Such an anthropocentric interpretation of the universe is responsible for today's life-threatening ecological problems. These problems can be solved only through a revolution of our attitude toward nature. Now is the time to think that he must find special affinity between him and nature. We can see the ecological vision in Wordsworth's romantic idea of nature. His romantic idea of nature will help modern men work out the answer to the ecological problems. In a sense, he gave man warning against the anthropocentric arrogance. Wordsworth's idea of nature was romantic one. First of all, he respected nature. He had a sense of the sacredness of the created world. He thought of nature as a spiritual existence or as having personality and developed a faith in the beneficient power of nature. He thought that nature has the power to heal and cleanse the psyche. And then he emphasized the organic interrelatedness between man and nature. He regarded man as a part of nature and believed in the coherence of all beings. He tried to see "one life" or "mighty unity" in all things of nature. So men are unified with them in his world. At his best, Wordsworth's poetry is the visionary expression of eternity or permanence through the beauty of wild nature.

비극적 비전의 한 양상 : 초월의 카타르시스 Christopher Marlowe의 Doctor Faustus를 중심으로 Catharsis of Transcedence in Christopher Marlowe's The Tragical History of Doctor Faustus

이예성 경주대학교 1996 論文集 Vol.8 No.-

It is said that tragedy has disappeared in our age. If we agree on the death of tragedy, it is not the death of tragedy itself but the glory of God and man, and the magnitude or largeness of man revealed in the death or downfalls of the tragic heroes which we cherish. We see the tragic vision from the death or downfalls of the tragic heroes and their magnitude or largeness revealed in their struggle against their tragic flaws, their fates or circumstances which are too much for him, which he can not control. The tragic heroes struggle to recover their rightful places and to evaluate themselves justly, showing their indestructable will to achieve their humanity. The tragic heroes arouse wonder and astonishment. His death or downfall becomes his victory rather than his defeat. We can also see the tragic vision in Christopher Marlow's The Tragical History of Doctor Faustus. Boundless in its aspirations, the Renaissance mind is the theme of all Marlow's plays. Dr. Faustus is a symbol of the Renaissance mind : he wants to know all thing and to have all knowledge. He is an overreacher. He is the epitome of Renaissance aspiration. He has all the divine discontent, the unwearied and unsatisfied striving after knowledge. He tried to abjure God in the hope of becoming something more than a man. He attempts to defy the will of God. Therefore he is doomed to failure at the very outset. So this play is more metaphysical, archetypal, and existential than moral in its conception of human will and action. Dr. Faustus is one of us, falling down from his position, after suffering from his tragic flaw - to defy the will of God, and this failure shows at once the greatness and misery of the individual. The sense of mortality in this play is felt as the power which ultimately extinguishes all the hero's pride and aspiraton, the inevitable end which irreconcilably contradicts Dr. Faustus's unlimited will and infinite desires. A critic, who acknowledges that Dr. Faustus is a sinner, goes so far as to say that he doesn't seem "to deserve the fearful punishment finally inflicted on him." Christopher Marlowe pressents Dr. Faustus in such a way as to enlist our sympathy and admiration for him in his revolt againt God. We experience the doctrine of felix culpa from the death of Dr. Faustus, that is to say, we experience catharsis of transcendence of the existential or archetypal agony of man from Dr. Faustus's death. He fights againt human limitation, dispirited by the fact that "Yet are thou still but Faustus and a man." After all he is defeated but shows us the magnitude or largeness of man.

영국의 전통적 자연관 연구

이예성 경주대학교 2001 論文集 Vol.14 No.-

The purpose of this study is to show that, even before the 19th century English Romantic age, the tradition of English literature and English spiritual life is romanticism, and the British traditional view of nature is also romantic, and that some ecological ideas are revealed in the English romantic view of nature. It may be that ecological ideas are essentially romantic. Some ecological ideas in English romantic poems can be a ray of hope for resolving today’s environmental crisis. For this purpose, this study tries to reveal some romantic elements and ecological ideas by introducing some critical views and examining one English medieval poem and several English Pre-romantic poems, especially nature poems, written before the 19th English Romantic age. Some critical views include Nick Frankel’s view on Oscar Wilde’s literary world, John Ruskins’s and Laurence Binyoun’s stresses on the romantic view of nature in the Northern tradition to which England’s civilization belongs, F. E. Spurgeon’s stress on English mysticism, and, especially, the arduous debates between a romantic John Middleton Murry and a classicist T. S Eliot on Romanticism and Classicism as the tradition of English literature and English spiritual life. Murry argued that “Romanticism…is itself the English tradition: it is national, and it is the secret source of our own peculiar vitality.” This study takes sides With Murry in this argument. And for the purpose of this study, some poems from the English medieval age to English pre-romantic age are examined roughly. After examining one medieval poem traditionally by Taliesin and several poems of the English Neo-classic and English Pre-romantics, it can be said that the English people have almost consistently had a romantic view of nature, believing in the divinity of nature and in the special affinity between man and nature, even in the English Neo-classic age of the 18th century, and that such mystical thought and mystical attitude are curiously persistent in English literature. What is interesting, Murry’s romantic view of nature and his ecological attitude are most similar to those of William Wordsworth. Matthew Arnold praised Wordsworth as “one of the very chief glories of English poetry”, and at best, as the spirit of English poetry. Thus it can be said that Wordsworth’s romantic view of nature may seem to be more central to the elucidation of the tradition of English literature and English spiritual life and of the traditional view of nature in England than to that of most others. The world of Wordsworth’s poetry is of immense importance in English Romanticism. As E. C Semple said, “man is a product of the earth’s surface.” But man has been regarding himself as the central fact of the universe and has thought that he is entitled to conquer or exploit nature at will. Such an anthropocentric interpretation of the universe is responsible for today’s life-threatening ecological problems. These problems can be solved only through a revolution of our attitude toward nature. Now it is necessary to think that man is a part of nature, that he is not the master of the earth but a product of it, and that he must find special affinity between him and nature. We can see this kind of ecological vision also in Wordsworth’s romantic idea of nature and his ecological attitudes toward nature. He respected Nature. He had a sense of the sacredness of the created world. He gained his revelation of divinity through nature. He thought of nature as a spiritual existence or as having personality, and he developed a faith in the beneficient power of nature to heal and cleanse man’s psyche. And, especially, he emphasized the organic interrelatedness between man and nature. He regarded man as a part of nature and believed in the coherence of all beings. He tried to see “one life” or “mighty unity” in all thing of nature. So men are unified with them in his world. At his best, Wordsworth’s poetry is the visionary expression of eternity or permanence through the beauty of wild nature. In a sense, he gave man warning against the anthropocentric arrogance. There is a grain of truth in his romantic ideas. In this respect, Wordsworth’s romantic view of nature will help modern men work out an answer to the today’s ecological problems.

E. A. Robinson의 시에 나타난 현대인의 정신 세계

이예성 경주대학교 1998 論文集 Vol.10 No.-

This study deals with some aspects of the nature of the modern psyche revealed in the bewildered protagonists in the poetry of an American poet Edwin Arlington Robinson(1869~1935). He was brought up at the late 19th century, the American Renaissance period or "the Gilded Age" and wrote his poems at the early 20th century, the period of great changes in American society and life with the advent of industrialism. His world view is clearly revealed in his answer to a critic Harry Thurston Peck's criticism of his collection of poems The Torrent and the Night Before: I am sorry that I have painted myself in such lugubrious colors. The world is not a prison-house, but a kind of spiritual kindergarten, where millions of bewildered infants are trying to spell God with the wrong blocks. "millions of bewildered infants" in the "spiritual kindergarten" are supposed to fail in spelling out "God," because they are playing with only the wrong blocks. But they will not give up the act of spelling out "God," hoping to see the brighter world some day in the future. With the industrialization, traditional American culture was torn asunder, and the sense of community was destroyed. In this changed community, as shown in the poetry of Robinson, all his people feel bewildered and alienated from the changed world. Robinson establishes in his poetry an imaginary village "Tilbury Town" where the "bewildered infants" are living. Most of the inhabitants of the imaginary town are failures: sometimes resigned to their failure, and sometimes crushed by it. And the failures have no means of declaring directly their sense of themselves. They have lost the power. Thus Robinson writes as an outsider. In this world no one is on the inside. As James Dickey says in his Babel to Byzantium, Robinson's work is "one vast attempt to tell the stories that no man can really tell, for no man can know their real meaning, their real intention, or even whether such exists, though it persistently appears to do so." And so the reader makes "hesitant, troubling, and tentative judgments," "for want of any received, definite opinion." So the result is "an unresolved view, but a view of remarkable richness and suggestibility, opening out in many directions and unsealing many avenues of possibility." As shown in his poem "The Night Before," Robinson, an alienated and bewildered poet himself, pities "all breathing creatures / On this bewildered earth," studies their faces and makes "the story / Of all their scattered lives." He tries to embrace the "scattered lives" of the "bewildered infants" on "this bewildered earth." When we read any poetry of Robinson we learn to now that the failures or the "bewildered infants" feel misplaced, anachronistic, and alienated from society, and long for the happy past years, as in the cases of the protagonists in "Miniver Cheevy," "The Mill," and "Mr. Flood's Party." Some of the "bewildered infants" lost their jobs an thus their joy in labour due to the mechanization and finally commit suicide like the protagonist in "The Mil." Some failures abruptly take their own lives for no definite reasons like Richard Cory does in "Richard Cory." Most poor towns people "on the pavement" have envied Richard Cory for his being "everything" to them. But he kills himself unexpectedly by putting "a bullet through his head" one calm summer night. Obviously enough, Robinson's poems are dramatic rather than lyrical. We people can be a Richard Cory at any time. He is one of us. When reading "Richard Cory," as James Dickey says in the same book, "the reader is left pondering as the poem has pondered, newly aware of his own enigmas, of what he and his own life---its incidents and fatalities---may mean, could mean, and thus he is likely to feel ourselves linked into the insoluble universal equation..." As a poet, Robinson had no way of solving the problems of the "bewildered infants" but only to depict their lugubrious world and try to embrace their agonies. Now he is called "a laureate of failure."

Piers Plowman Symbol

이예성 연세대학교 영어영문학회 1988 영어영문학연구 Vol.10 No.-

Piers는 복합적 상징으로 우화적으로는 인간(인류) 그 자체이며 사회에서 역할을 하며 고결성을 지닌채 도덕적 완전성의 한 표본이다. 그는 역시 위대한 神的 인간이며 인류구원자의 표상으로서 인간이 이룩한 가장 드높은 업적 바로 그것이다. 그런데 14세기 혼란된 기독교 사회에서만 Christ-like men이 필요했던 것이 아니라 오늘날의 시대에도 ‘Christ-like men’이 절실히 요구되고 있다는 사실에서 볼 때 Piers the Plowman는 현대성을 갖는 작품이다.

Freedom의 주제와 Central Intelligence수법을 중심으로

이예성 연세대학교 영어영문학과 1983 영어영문학연구 Vol.7 No.-

The Great Gatsby의 소설기법

이예성 경주대학교 1995 論文集 Vol.7 No.-

According to The Rhetoric of Fiction by Wayne C. Booth, the authorial impersonality is not always desirable ; it is impossible for writers to disappear completely from fiction or to eliminate certain overt signs of he author's presence. Writers ceaselessly try to bring their existence to the reader's attention. Event there are many cases where the authorial intrusion is more effective than the authorial objectivity. Wayne C. Booth says in the book that "...the author's judgement is always present, always evident to anyone who knows how to look for it...We must never forget that though the author can to some extent choose his disguises, he can never choose to disappear." Fitzgerald was able to intrude deliberately and obviously in his The Great Gatsby, creating "the implied author" as his "second self" through the convention of the first person narration of Nick Carraway, an observer-actor or a narrator-agent who produces some measurable effect on the course of events. As Mitzener says in his "F. Scott Fitzgerald :The Poet of Borrowed Time," Fitzgerald was able to focus his story by means of this narrator, At first, the narrator Nick, acting to the foil to Gatsby, tries to neutral because he doesn't know anything about the mysterious man Gatsby. But, gradually, the narrator begins to accept him, rejecting the corrupt Buchanans[Tom and Daisy], And at the end of the novel, he fully accepts him, taking pride in his saying that "They[Tom and Daisy] are a rotten crowd...you're worth the whole bunch pt together." Thomas A. Hanzo also recognizes in his "The Theme and the Narrator in The Great Gatsby" the successful use of the first-person narrator of Nick like this : "Fitzgerald's intention can not be clarified, nor the significance of his achievement grasped, without sharing with Nick the trial of his self and the activity of his conscience in that society of which Gatsby is only the most notable part." Obviously, When we are conscious of the narrator sharing with him "the trial of his self and the activity of his conscience," we become the implied readers. In other words, we begin to "take Nick Carraway as our example and his sensibility and intelligence as the recognizable determinants which inform the story with its meaning," as Thomas A. Hanzo says in his article. in short, Fitzgerald's subject or theme of this novel is seen through the history of the narrator Nick "whose moral intelligence is the proper source of our understanding and whose career, in the passage form innocence to revaluation, dramatizes the possibility and mode of a moral sanction contemporary America," as Thomas A. Hanzo says aging in his article.