http://chineseinput.net/에서 pinyin(병음)방식으로 중국어를 변환할 수 있습니다.
변환된 중국어를 복사하여 사용하시면 됩니다.
- 中文 을 입력하시려면 zhongwen을 입력하시고 space를누르시면됩니다.
- 北京 을 입력하시려면 beijing을 입력하시고 space를 누르시면 됩니다.
RISS 인기검색어
- 검색키워드
- 저자 : 이창배 ( Chang Bai Lee ) (검색결과 15 건)
- 무료
- 기관 내 무료
- 유료
-
이창배(Chang-bai Lee) 한국T.S.엘리엇학회 1993 T.S. 엘리엇 연구 Vol.1 No.-
This article which was originally written for a chapter included in the writer’s A Study η T. S. Eliot (Seoul, 1988) aims at investigating the na ture of T. S Eliot’s spiritual venture before and after his conversion to the Church of England. Though Eliot was born and grown in Unitarian family backgrond, he could not feel attached to the ’materialistic’ unorthdox Chris-tianity. When he failed to awaken to religious emotions in his early years, Eliot as “the type of one kind of religious sceptic, had to endure his loneliness and suffering for his long hesitation and painfuf soul-searching. For Eliot there was no sudden grace but a long period of doubt and soli-tude. Eliot’s conversion was not a dramatic change, but only an expansion or development of interest. He did not turn from atheism to belief but from spiritual self-reliance to the support of a Church. He was attracted, for this reason, to the intelligent believers like Lancelot Andrews, Pascal, Dante and SO on. They were his life models, and their biographical essays he wrote for many occasions reflect an image of himself. What all Eliot’s models have in common is the pattern of a life in which spiritual struggles are link-ed to Church‘ His words on Pascal, “His despair, his disillusion… are sen-tial moment in the progr s of the intellectual soul can be said on himself. And it can also be said that Eliot s poetical works from The Love Song of J. Alfred Prufrock, The Wasle La :d, through Four Quartets are his autobiographical writings as personal grievances.
-
-
-
-
-
-
李昌培 동국대학교 1965 論文集 Vol.2 No.-
Jules Laforgue, one of the French Symbolists, was, as is well known, the man whose influence initiated T. S. Eliot in the discovery of a form expression during the very period of his search for some new mode of poetic expression. Although the colloquial idiom, free verse form, and ironic tone of Laforgue's reflected in Eliot's early poems have well been discussed and studied by many critics and scholars, those technical similarities of the two poets cannot be mentioned without an inquiry into the level of their spiritual affinity. The main purpose of this article is to determine what and how Eliot's metaphysical standpoint was, to be attracted by Laforgue. In the two poets' writings including their prose works, we find a similarity of disposition which they must have naturally possessed even before one's coming into contact with the other's writings. Suffering seems to play a fairly large part in Eliot's whole poetry as well as in Laforgue's, the former being chiefly the records of the detraction and dejection produced by the social routines of the day, and the latter those of his ennui and dissatisfaction produced by his own melancholy disposition. Although the prime causes from which they suffered are not quite the same, their attitudes toward life which caused them to suffer may be said not be so different, regardless of their situation in time and space. T. S. Eliot, whose sensibility had been fashioned in the religious soil, felt horror because of his being possessed by the sense of Reality while Laforgue, who died of tuberculosis at the age of twenty-seven, felt horror, because he could not avoid the ever-oppressing Death even for a while. Eliot's Reality and Laforgue's Death are a final cause to which the door of religion is opened and which human beings intoxicated with the humanistic illusion cannot grasp. They are the poets who always lived under an oppressive sense of Fact and never allowed themselves to be defeated under its pressure, but observed and examined their own situations, objectifying and dramatizing them into their poetry. This realistic attitude devoid of day dream, illusion and even hope toward life saved their poetry from being romantic and made it classic, though Laforgue, unlike Eliot, sometimes could not conquer his sentimentalism and overflowed his poetry with a romantic cry. Although it may be said that the technical resemblances of Lanforgue cannot be found in Eliot's Later Poetry which has surpassed and developed his "elder brother's" we often hear his clear voice mingled with so many other voices in Eliot's later works, because Eliot's resemblances to Laforgue is not only a technical matter but the fact that they shared the common attitude toward the world.
-
李昌培 동국대학교 1983 論文集 Vol.22 No.-
Eliot이 자기의 詩觀을 체계잡힌 批評文으로 발표한 것은 1919년에 Egoist誌에 실린 'Tradition and Individual Talent'가 최초의 것으로 공인되어 왔지만, 그의 詩를 보는 안목과 경향이 두드러지게 드러난 것은 그보다 훨씬 이전, 즉 그가 詩를 쓰기 시작하던 때로 거슬러 올라간다. 그는 자기가 詩를 쓰기 시작하던 때를 회고 하면서 다음과 같이 말한 일이 있다. 우리 시대의 하버드대학생은 이미 죽은 90 년대의 英國詩人을 읽었는데, 그것이 우리가 접촉할 수 있는 가장 가까운 傳統이었다. 그때 살아있는 영국시인으로서 내자신의 교육에 도움이 된 사람을 나는 기억할 수 없다. 1909년에 初學者에게 소용되는 詩人은 하나도 없었다고 해도 과언이 아니라고 생각된다. 유일한 의지는 다른 시대의 詩와 다른 나라의 말로 된 詩였다. 여기에서 Eliot이 말하는 90 년대의 詩人은 영국의 Victoria 朝 詩人들이고, 그때 살아있던 詩人으로는 Thomas Hardy, Yeats, 그리고 Georgian poets 들이다. Eliot은 이들이 쓰고 있는 詩에 만족할 수가 없어서 다른 시대와 다른 나라의 詩人에 의지할 수 밖에 없었다고 말하는 것이다. 여기에서 말하는 다른 시대는 그가 밝힌 다른 쏘오스에 의하면, Elizabeth 朝의 詩劇作家들이고, 다른 나라의 詩人은 프랑스의 初期 象徵派詩人인 Jules Laforgue를 뜻한다. 그리하여 Eliot은 Victoria 朝의 詩와 그 餘韻을 그대로 이어받은 20세기 초의 詩에 혐오감을 느끼고, 그런 詩와 類를 달리하는 Elizabeth 朝의 詩劇作品이나 Laforgue의 詩를 좋아하고 거기에 의지하여 詩를 쓰기 시작했다고 말함으로써 자기의 詩觀을 밝히고 있는 것이다. The design of this paper has its starting point in my conviction that Eliot's poetical theory and practice are best approached from each other's context. In fact, Eliot's criticism serves a major function in the interpretation of his poetical work. Conversely, his poems throw a strong light on his criticism, since the latter has emerged mostly from the creative context of his work. Hence it is my contention that his critical tenets account greatly for the ambiguity of his poems. Thus it is in the light of the inseparability of his theory and practice that I have attempted a close analysis of his two major theories, "Impersronal Theory of Poetry" and "Objective Correlative," in an effort to correct misdirected interpretations of these theories. Also I have tried to bring into full relief similarities and dissimilarities between Eliot's theory and that of Pound and symbolists so as to extract further information on the true nature of Eliot's poems. Closer investigation of Eliot's theories reveals that his poetry suffers lack of any intended sense of direction or purpose. Rather he regards poetry as "a superior amusement" which borders on the theory of nonsense poetry. Resultantly, it is evident that his poems do not fall under the category of philosophical, religious or counter-civilization poetry.
-
폐의 급, 만성 염증시 기관지내 둥근 종괴로 발생된 육아조직 4예
이창배,신태림,이경은,박영미,전정현,남준식,김효정,김유경,윤희수,구혜수,천선희 梨花女子大學校 醫科大學 醫科學硏究所 1999 EMJ (Ewha medical journal) Vol.22 No.3
비특이적인 염증 상태에서 발생하는 육아조직이 종괴의 형태를 띠는 경우가 있다. 저자들은 최근 1년간 이대부속 동대문병원에서 시행한 기관지내시경 검사상대엽 기관지나 분절기관지의 입구를 폐쇄시키는 둥근 종괴로 발견된 염증소견의 육아조직 4례를 관찰하였다. 따라서 기관지내 종괴의 감별 진단시에는 급만성 염증에 의해 발생할수 있는 육아조직의 가능성을 반드시 고려해야 하겠다. The granulation tissue, which are found in nonspecific inflammation, occasionally seemed like round mass. We experienced and report four cases in which the granulation tissue presented as endobronchial mass on the bronchoscopy. The masses obstructing lobar or segmental bronchial oriface were round, smooth surfaced and pinkish except whitish one case. The granulation tissue caused by acute or chronic inflammations, should be considered to differentiate endobronchial mass.
-
KCI연관 검색어 추천
이 검색어로 많이 본 자료
활용도 높은 자료
